BASICS

Charlotte Worthington
film-making
01

producing

v
administrating the financial
and managerial aspects of
a film or broadcast, or the
staging of a play, opera, etc
BASICS
film-making
Producing
01
Charlotte Worthington
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Gone
A film still from the short drama Gone.
Director: Oliver Graham
Producer: Camilla Boschiero
Photographer: Luigi Bertolucci
2–3
 Contents

6–7
How to get the most out of this book

8–9
Introduction

10–11 36-37 66-67

THE PRODUCER THE BASICS PRODUCING
DOCUMENTARY
12–15 38–39
The role Producer greats: Lois 68–69
Weber Producer greats: Susan
16–17
Frömke
Different types of producer 40–43
Copyright 70–71
18–33
The team
The production process 44–47
Legal, ethical and practical 72–73
34–35
issues Documentary styles
The production team
48–49 74–77
Health and safety Development
50–51 78–79
Shooting formats Proposal and treatment
52–61 80–83
Budget Budget
62–65 84–85
Exhibition and distribution Pre-production

86–91
Production

92–93
Post-production

94–95
Case study: The producer/
director
 4–5

96–97 128–129 152–153

PRODUCING DRAMA PRODUCING LEARNING CURVES
MAGAZINE SHOWS
98–99 154–155
Producer greats: Matthew 130–131 Producer greats: Andrew
Weiner Producer greats: Various Eaton

100–105 132–133 156–159

The team Types of TV format Oliver Goodrum
programmes – Breathing In
106–111
Development 134–135 160–163
What is a magazine show? Joao Tristao – Ambulance
112–121
Blogger
Pre-production 136–137
The team 164–167
122–123
Daniel and Jesse Quinones
Production/principal 138–139
– Cage Fighter
photography The production schedule
Contents > How to get the most out of this book

168–171
124–125 140–141
Daniel and Jesse Quinones
Post-production Production
– Cold Calling
126–127 142–143
Case study: Post-production
172–173
The creative producer
144–149 Conclusion
An example weekly
174–175
magazine programme
Glossary
150–151
176
Case study: The executive
Acknowledgements
producer
and credits
 How to get the most out of this book

This book is intended to provide a starting point

for inexperienced producers embarking on their
first productions. Initial chapters explore the role
and responsibilities of the producer, while later
chapters look at documentary, drama and magazine
programme production, focusing on what is needed
to get the job done.

Headings
Help the reader to quickly
locate a topic of interest.

Different types of producer 16–17

Within the television industry, a single

producer may be employed to take PROGRAMME PRODUCER/ EDIT PRODUCER DEVELOPMENT PRODUCER
sole responsibility for a production. SERIES PRODUCER
Alternatively, several types of producer Usually employed on series Generates and develops
may take responsibility for different Has overall business or game show/reality TV ideas into scripts,
areas of production, each with a specific (budget, contracts), formats. They oversee proposals and programme
role and with distinct responsibilities. creative (script editing) the editing stage of the formats. These projects
and quality management project. They need to have are then pitched to TV
As many student or first-time responsibility for the strong storytelling and companies and other
productions have little or no funding, programme. Controls the scriptwriting skills and sources of finance.
they will only be able to afford one budget and hires the key be able to weave several
producer. Also, these types of projects creative members, parallel storylines into
generally tend to be smaller in scale such as the director, one programme.
and therefore do not need the extensive art director and editor
teams often required in professional or EXECUTIVE PRODUCER
of the production team.
major television productions. Tends to oversee several
projects in different
stages of production,
often at the same time.
They liaise closely with
STUDIO PRODUCER
the programme producer
ASSISTANT PRODUCER LINE PRODUCER
Works within a television (as well as the
Works closely with the Can usually be found in studio with presenters broadcaster or
producer both editorially film and TV dramas. They and has gallery/live commissioning body).
and creatively. The are hired at the end transmission (TX) They are involved in all
assistant producer can of development for the experience. Their job is aspects of the business
often play a key role, production period and to oversee the content of and management of the
The role > Different types of producer > The production process

conducting much of into post-production. the programme, ensuring production.

the hands-on shooting, They help cost and manage that the overarching
scripting and editing of the budget below the line concept, tone and style
programme content. and are responsible for of the programme is
hiring the crew. being delivered.

Running glossary Running glossary

Below the line all the costs to
technically make the film. Usually paid
on a weekly or daily basis
Gallery production control room
within a television studio
The producer
Live transmission (TX) a programme
broadcast to the audience as the event
happens. Eg football matches, royal
events etc
Script the written plan and dialogue
Proposal a brief document that
includes a description of the project,
its intended audience and why it
should be made
Programme format a packaged
Broadcaster an organisation that
distributes programme content to a
public audience. Eg BBC, Sky, NBC,
Fox and Channel 4
Commissioning body an organisation

for a film or programme programme idea such as ‘Big Brother’. that offers finance and support to
Pitch a short description of programme makers
a programme idea

Running glossary Box outs

Provides the definitions Contain further
of key terms highlighted information on the
within the main text. various roles within the
production process.

Pre-production
± Shooting schedule
Another key part of planning a shoot is
the preparation of the shooting schedule.
This outlines the order that the scenes
in the script are going to be shot,
maximising time, money and resources.
Once the script has been broken down
and transferred to the production
board, the schedule can be created.
The producer’s starting point is to build
the schedule around key or fixed dates.
These might be:
• Availability of the key actors
(they may have other filming
commitments that they are
already contracted to)
• Availability of key locations
• Any night shoots
• Union regulations on length
of days/night shoots
• Any special effects
• Any stunts.
Professional tips
Producer pre-production checklist:
· Organise crew and contracts
· Set up an insurance package
· Set up auditions and rehearsals
· Negotiate actors’ contracts
· Research post-production facilities
· Research and finalise locations.
· Ensure licences and contracts
are signed and relevant security
arrangements are in place
· Organise transportation
· Negotiate cast contracts
· Oversee and distribute relevant
Producing drama
paperwork – eg call sheets
· Organise stock
· Organise catering
· Oversee risk assessments
Professional tips
Provide essential
guidance for the
practising producer.
Case study: The executive producer
± Chris Downham
Chris works for CSI Sports and has
been responsible for an extensive range
of sports programming for the English
Football Association, FIFA, the Football
League and UEFA, as well as long-running
sports highlights and magazine shows.
During his four years producing ‘World
Football’ he was part of the team that made
it into television’s most widely watched
soccer show, reaching 160 broadcasters
and 200 countries worldwide.
What do you do?
I’m Head of Programming at an independent
production company, which specialises
in a range of sports content. My company
represents a number of major sporting
federations and commercial clients. The
type of work we cover involves producing
programming around live sporting events
and making a variety of supplementary
programming, such as promos, magazine
programmes and previews, reviews and
archive based programmes.
What do you mean by preview and review?
Previews are programmes that provide
context to upcoming sporting events,
reviews are obviously looking back at a
sporting weekend.
What is a typical working week?
In the sporting world most events tend to
take place at weekends. This means we
are making supplementary programming
Producing magazine shows
to support these events during the week
and then producing the live event on
Saturday and Sunday. At the moment we
are producing live studio programming
around these events, which are broadcast
on TV and the Internet.
Navigation
Provided to help the
reader find his or her way
around the book.
6–7
118–119
Subheadings
Remember, as mentioned earlier, when
working out a shooting schedule it is a
good idea to identify the locations and then
group all the scenes that take place in the
Elaborate on the
principles discussed
location together. Plan to shoot exteriors
first then move inside to interiors.
Work out the length of each working day.
in the main headings.
A 10-hour day with breaks is an average
shooting day.
Try to work out what can be shot in a
day. Aim to shoot around two pages per
day. However, half a page of complicated
action may take a day to shoot in itself.
In contrast, a dialogue scene between
Images
two characters sitting at a table will tend
to take less time to shoot. The more
complicated the scene, the longer it will
take to rehearse, set up and shoot.
It is possible to use scheduling and
budgeting software that links into A range of photographs,
Final Draft. For more information, see
film stills, illustrations
www.entertainmentpartners.com.
and forms that help to
Development > Pre-production > Production/principal photography
Starting point/tips
Points to consider when creating
a shooting schedule:
support the text.
· Every time the camera is moved
within a scene the lighting may need
to be changed
· Some film equipment is very heavy
to transport
· Lighting a large space is more
complex. Apart from needing more
lights you will need more time for
Captions
Continuity stills
crew to set up and to clear up Continuity stills are used in order
· Start with an easy day. This is to record how a scene looks at the
especially beneficial for your actors beginning and end of a scene. These
can then be referred to if it needs to
Discuss the relevant
· Be realistic about what you can be re-shot at a later date.
achieve in a day
image, helping to place it
in context for the reader.
Starting points/tips
Provide useful tips and
suggestions in order
to help the aspiring
producer to succeed.
Case studies
150–151
Feature practising
What does that involve?
‘I RELY ON PEOPLE TO DO producers and their
This involves a presenter and guests
providing analysis of the events prior
to the game and afterwards. We have a
two-camera studio, a small gallery and a
THEIR JOBS PROPERLY. working methods in
Contents > How to get the most out of this book > Introduction
IF A RESEARCHER GETS
order to help put their
studio team of approximately ten people.
What do these people do?
THEIR FACTS WRONG IT’S
roles into context.
There are two cameramen, a set
designer, a director, producer, autocue
operator, make-up artist, sound engineer, NOT GOOD.’
vision engineer and a runner. There is
also an Avid editor working with another
producer providing cut-picture content.
Who are the key people in your team? What can go wrong? What do you like doing best and why?
In short, everyone is important. Everyone Any number of things can go wrong. For Making good-quality programmes that
is there for a reason and if one person example, the presenter can fluff their are technically well made, thoughtfully
doesn’t do their job properly the lines or say something unexpectedly, produced and creative. I’d like the
programme suffers. which could be libellous. The script can viewer to feel comfortable, interested
be wrong, I rely on people to do their and hopefully a little excited about
An example weekly magazine programme > Case study: The executive producer
Is there a script? jobs properly. If a researcher gets their what they are watching.
facts wrong it’s not good. Obviously in
Yes. The producer writes the script over
a live situation we can have technical What do you consider to be the most
the week for the presenter to use on
problems. We can lose sound, vision or important skills to have as a producer?
the day. A researcher will provide the
run out of time for rehearsal. Preparation
background information for the script. Patience. Whatever you have done in your
is everything – if you prepare properly
The structure of the script is fairly career you are only as good as your last
you can minimise your risk.
formulaic – we don’t deviate too much programme. You are constantly striving
from the tried and tested. to improve and move on.
When it does go wrong what do you do?
Why? Keep calm. The last thing you need is Did you have any formal training?
somebody shouting in a gallery. This
It’s a live event and we need to be No I didn’t. In the television business you
only makes things worse as it tends to
sure that everything is under control. tend to learn from experience. I believe
compound the first mistake. Nervous
I believe the viewer gets used to certain the only TV company who offer formal
people make more mistakes. The
conventions. Where we can be more training are the BBC. All the producers
producer and director in the gallery
creative is in the presenter’s contribution I have ever worked with learnt on the job.
have to think on their feet and provide
and their personality. Most people start as runners or work in
leadership.
TV ops and basically work their way from
This is also a people business and the bottom up.
you need to be able to manage people
to get the best out of them. A little
encouragement goes a long way.
Quotes
Have been highlighted
within the text to
emphasise insightful
comments for the reader.
 Introduction
So you’re interested in becoming a
producer. You want to make films or
work in the industry. Or you’re simply
new to this world and need to know more
about production.
This book sets out to provide a broad
and easy-to-understand introduction to
digital film-making and TV production. It
is targeted at not only the inexperienced
film-maker looking for useful information,
but also the reader with a general interest
in the subject.
Never in the history of TV production
have there been so many opportunities
to make one’s mark. Forever in a state
of continual change, the media industry
is increasingly caught up in a desperate
search for new programme ideas,
formats and audiences. Those working
in the industry must incessantly change
and adapt just to survive in such a
highly competitive market place. On the
plus side, this relentless development
and expansion has engendered new
opportunities. New digital technology
is enabling student and independent
film-makers to discover cheap and
accessible ways to produce and
distribute. It is with this fast-moving
and rapidly changing environment
that film-makers must engage.
This book will aim to provide the
basic knowledge needed to produce
drama, documentary and magazine
programmes. It will explore the realities
and challenges of the production process
and examine the role of the producer. It
will identify and break down aspects of
the differing types of production. They
will be clearly described and divided
into designated areas, including basic
budgeting, copyright, questions of
legality and ethics as well as multi-
platform distribution.
The book will explore the different types
of producer that can be found in the
industry, outlining their particular areas
of responsibility and expertise. It will
present case studies, which outline the
producer’s duties and responsibilities.
As well as providing essential
information about current industry
practices, the book will also consider
the production process for student film-
makers. A separate chapter is dedicated
to students, who discuss the making of
their films, highlighting the pitfalls they
encountered and providing essential
production tips.
Having the opportunity to make
films and to experiment away from
commercial pressures and the
uncertainty of the freelance job market
can be a liberating as well as a daunting
experience. Gaining a rudimentary grasp
of production basics can instil and help
develop the confidence necessary to
deal with the many challenges faced
by the novice film-maker.
 8–9

± The producer ± Producing magazine shows

An introduction to the role of the
producer and the structure of the
production team. The producer’s job is
often the hardest to understand, so this
chapter sets out to clarify the types of
producer found in the industry, the skills
they need, what they do and why.
The TV industry is hungry for new
programme formats and ways to
package old ideas in a fresh and exciting
way. This chapter looks at the basics
involved in producing a packaged show,
demonstrating the ground rules and
approaches.

± The basics ± Learning curves

Understanding the basic legal, This book should give the aspiring
financial and ethical principles involved producer confidence and enough
in production are vital to the emerging information to go ahead and make a
producer. Being aware of these key issues film. In this final chapter, emerging film-
will help you to plan and keep control of makers discuss the highs and lows of
a production from start to finish. production, giving helpful advice and
real experiences for the inexperienced
± Producing documentary producer and film-maker to draw on.
In a world where documentary film-
making is flourishing, the producer
brings real lives, new perspectives
and compelling stories to an audience.
This chapter introduces the building
blocks to get the fledgling producer
up and running.

± Producing drama

Putting the story on the screen is the

world of the drama producer. The
How to get the most out of this book > Introduction

creative process alongside the financial

and practical realities of the job are
introduced and explored in this chapter.
 10–11

THE PRODUCER

The audience for news, sport and entertainment is

global and growing. Billions of people across the
world watch TV, access programmes on broadband or
download content on to their mobile phones. Behind all
these types of content there are small armies of people
and all are led by producers.

Defining the producer’s role may not be as

straightforward as it might at first appear. It is perhaps
easier to understand the roles of say, a director of
photography (DoP), a scriptwriter or an editor. In a
nutshell, the producer is a programme or film’s key
contributor – the driving force behind a project.
The producer is likely to be the person who has
nurtured or developed an idea before steering it to
completion. The producer’s role is challenging; a
continual battle to remain faithful to the vision of the
original idea against the constraints of time and money.
The producer’s responsibilities can be stressful and
frustrating but, it should always be remembered,
ultimately fulfilling when the vision finally makes it to the
screen – hopefully intact.

This first chapter aims to introduce the role of the

producer and explore the responsibilities it carries.
It will outline the production process and the producer’s
role within it. It will also touch on the producer’s
relationship with the rest of the production team.

The bottom line is that being a producer is hard work,

challenging and rarely glamorous.
The producer > The basics

The buck stops here!

The role of the producer is pivotal in
any production. The responsibility
and pressure can be stressful,
but ultimately it is a fulfilling and
rewarding job.
 The role

So what exactly does a producer do? It should be noted that in the world of
bigger-budget productions the producer
The producer may have developed and
will work closely with a production
pitched an original idea to a broadcaster.
manager on a daily basis. Essentially,
He or she may have raised finance from
the production manager will not become
a range of sources to fund the project.
involved in any creative or editorial
Alternatively, a production company may
decision making, but will liaise closely
have hired a producer once a programme
with the producer to deliver a project on
has been commissioned. Whatever the
time and within an agreed budget. It is
situation, the producer is the person
the producer who will have meetings with
responsible for holding a project together
the writer, the commissioning editor or
from start to finish, delivering the project
the executive producer. In short the role
on time and on budget. It is a tough and
of the production manager is to oversee
demanding role requiring an ability to
the smooth running of all practical
make important decisions, often under
aspects of production.
challenging circumstances.
A producer needs to be highly organised,
In low- or no-budget productions the
motivated and knowledgeable about all
producer will often be required to
areas of production. As well as taking
take sole responsibility for both the
responsibility for all editorial decisions,
creative and administrative areas of the
such as final script approval and hiring
production. When confronted by the
key production team members including
challenges of having little or no money at
the director and the production manager,
his or her disposal, the producer will be
the producer needs to be confident and
required to be creative and inventive to
grounded with a good knowledge of the
get the most out of available resources.
financial, legal and technical aspects
The producer may need to personally
of production. He or she also needs
organise and transport equipment, cast
to be able to manage a team and build
actors, recce locations as well as make
trust, taking overall responsibility for
sandwiches and cups of tea for cast and
the project and any problems that may
crew members on the shoot. This can be
arise. In the end the buck stops with the
exhausting and stressful. Where possible
producer.
the producer should try to delegate
responsibility in order to prevent burning For useful websites providing information
out and making mistakes. on training, visit: www.npa.org.uk,
www.globalfilmingschool.com,
www.film-connection.com and
www.ec.europa.eu/information_society/
media/index_en.htm.
The producer
 12–13

Managing a team
The producer is responsible for
The role > Different types of producer

key members of the production

team. This requires not only good
organisational skills, but tact and
diplomacy.
 The role

CREATIVITY

THE ABILITY TO PLAN

MOTIVATION

THE ABILITY TO THINK

QUICKLY AND CLEARLY

KEY SKILLS
A
GOOD
INTERPERSONAL
SKILLS

COMMON SENSE

THE ABILITY TO
FORWARD THINK
The producer
 14–15

COMMUNICATION

NEGOTIATION

GOOD JUDGEMENT

ORGANISATION
OF
PRODUCER

THE ABILITY TO
PROBLEM SOLVE

RESILIENCE
The role > Different types of producer

A SENSE OF HUMOUR
 Different types of producer
Within the television industry, a single
producer may be employed to take
sole responsibility for a production.
Alternatively, several types of producer
may take responsibility for different
areas of production, each with a specific
role and with distinct responsibilities.
As many student or first-time
productions have little or no funding,
they will only be able to afford one
producer. Also, these types of projects
generally tend to be smaller in scale
and therefore do not need the extensive
teams often required in professional or
major television productions.
ASSISTANT PRODUCER
Works closely with the
producer both editorially
and creatively. The
assistant producer can
often play a key role,
conducting much of
the hands-on shooting,
scripting and editing of
programme content.
Running glossary
Below the line all the costs to
technically make the film. Usually paid
on a weekly or daily basis
Gallery production control room
within a television studio
The producer
PROGRAMME PRODUCER/
SERIES PRODUCER
Has overall business
(budget, contracts),
creative (script editing)
and quality management
responsibility for the
programme. Controls the
budget and hires the key
creative members,
such as the director,
art director and editor
of the production team.
LINE PRODUCER
Can usually be found in
film and TV dramas. They
are hired at the end
of development for the
production period and
into post-production.
They help cost and manage
the budget below the line
and are responsible for
hiring the crew.
Live transmission (TX) a programme
broadcast to the audience as the event
happens. Eg football matches, state
events etc
Script the written plan and dialogue
for a film or programme

EDIT PRODUCER
Usually employed on series
or game show/reality TV
formats. They oversee
the editing stage of the
project. They need to have
strong storytelling and
scriptwriting skills and
be able to weave several
parallel storylines into
one programme.
STUDIO PRODUCER
Works within a television
studio with presenters
and has gallery/live
transmission (TX)
experience. Their job is
to oversee the content of
the programme, ensuring
that the overarching
concept, tone and style
of the programme is
being delivered.
Running glossary
Proposal a brief document that
includes a description of the project,
its intended audience and why it
should be made
Programme format a packaged
programme idea such as ‘Big Brother’.
Pitch a short description of
a programme idea
16–17
DEVELOPMENT PRODUCER
Generates and develops
ideas into scripts,
proposals and programme
formats. These projects
are then pitched to TV
companies and other
sources of fi nance.
EXECUTIVE PRODUCER
Tends to oversee several
projects in different
stages of production,
often at the same time.
They liaise closely with
the programme producer
(as well as the
broadcaster or
commissioning body).
They are involved in all
aspects of the business
and management of the
The role > Different types of producer > The production process
production.
Broadcaster an organisation that
distributes programme content to a
public audience. Eg BBC, Sky, NBC,
Fox and Channel 4
Commissioning body an organisation
that offers finance and support to
programme makers
 The production process

Before you can understand the From the student film to the most
specific responsibilities of being a complex broadcast productions, they
producer, you will need to have an all tend to follow these key stages:
overview of how a project gets on to
the screen. This section will outline
each stage and what is specifically
required of the producer. EXHIBITION

Grasping and understanding the

problems, pitfalls and needs of each
stage of production can only really be
acquired through the experience of
working on real projects. A small-scale
student or first film can really help a
fledgling producer to gain experience
without having the responsibility of
managing a significant budget or
dealing with a large production team.
In addition to this, having a basic
conceptual understanding of all the
stages of production can really help DISTRIBUTION
the inexperienced producer to grasp
the process and what is expected from
them at each stage of production.

POST-PRODUCTION
The producer
PRODUCTION
IDEA

KEY STAGES OF
A PRODUCTION

PRE-PRODUCTION
DEVELOPMENT
18–19

Different types of producer > The production process > The production team
 The production process
± Development
This is when the idea is moved
forward creatively. The proposal or
script is drafted, an outline budget
(the provisional costs) and production
schedule (an estimate of how long it
is going to take to make) are drawn
up. (See Chapter Two: The Basics
for discussion on budgeting and
scheduling). At this stage the producer
may approach key production members,
actors and writers in order to attach
them to the project. This may make the
project more attractive as an investment
to prospective funders. Being able
to confirm that you have exclusive
access, or that a well-known actor or
an experienced drama scriptwriter is
attached to the project, immediately
raises the profile of the production,
attracts finance and increases the
likelihood of a larger audience.
Professional tips
All projects begin with an idea.
At this stage there will need to be a
range of questions asked about the
viability of the subject. The following
are the types of questions that a
producer will need to ask:
· Are there similar projects already
in production?
· What is unique about the project?
· What are its strengths and
weaknesses?
· Is it filmable?
· Is there exclusive access to the
The producer
story or characters?
· Is there an audience or market
for the film?
It should be remembered that at this
point there are no guarantees the
project will be made. This stage of the
production cycle can last for many
years, which can be both costly and
frustrating – particularly as the project
may never go ahead.
Funding is always a fundamental
consideration when it comes to working
on a film or TV programme. A crucial
aspect of the producer’s role is to know
whom to approach. Possible sources
of funding can come from a range of
sources, such as broadcasters like the
BBC, ABC and CBS, awards from such
organisations as the UK Film Council,
sponsorship or pre-sales agreements.
Further funding details can be found at:
www.britfilms.com and
www.ec.europa.eu/information_society/
media.
· Who is the audience?
· Where is the money coming from to make it?
· How much will it cost?
· Has wider opinion been canvassed
about the idea?
· Is the story/concept in the public domain?
· Are there copyright issues?
· If there are copyright issues, who owns
what?
· Who owns the script/idea and how long
should the option be for?
· Who should be hired to write the script?

When approaching possible funders or
broadcasters, the producer will need to
have developed the proposal or script
and be ready to make a brilliant pitch.
A written and verbal pitch needs to clearly
describe the project in a few concise
and engaging sentences. The producer
must excite prospective funders, often in
a short period of time and in the context
of a highly aggressive and competitive
market place. The most important thing
to remember is that the project has to be
distinctive; it needs to stand out.
The idea
Coming up with the idea is just
the beginning of the film-making
process for the producer.
20–21
Even if a project is a no-budget, a low-
budget or a student production, the film-
maker or producer should be in no doubt
that they are working within financial
constraints. However, in most cases
a lack of money can be offset with the
investment of long hours, commitment
and negotiating skills. A talented
producer who has little or no budget
should be able to charm or haggle in
order to get the best deals on equipment
or access to an edit suite in unsociable
hours. The producer should also be
capable of organising the production
schedule in the face of conflicting
availability and commitments of crew
and cast members.
Different types of producer > The production process > The production team
Starting point/tips
Funding can come from a range
of sources, such as:
· Broadcasters
· Distributors or film studios
· Private investors
· Sponsorship
· Grants
· Loans
· Pre-sales of a film to certain
markets
· Cast and crew deferments
· Friends and family
· Your own money
 The production process

± Pre-production

This stage begins when the project has

been given the go ahead (green light)
and any relevant contracts with the
main actors, the director and the writer
are negotiated and signed. Running
any type of production is complex and
all projects need a base from which to
work, so a production office will need to
be established. This could be in a fully
serviced rented office space, or just a
desk sublet by a production company or
even – in student productions – a friend’s
front room where a mobile phone is the
only piece of equipment. The production
office will keep running right up to the
end of the editing and delivery of the
project to allow the clearing up of loose
ends and paperwork.

It is also at this stage that the budget

is developed in greater detail. Once a
project is officially up and running, actual
deals and specific quotes for equipment
hire, catering and editing time can be
negotiated to get the best prices.

Another issue relating to the budget that

may be raised by the producer concerns
the director’s creative vision. For
example, the director may insist that the
filming takes place in a location that is
expensive to hire, or in a location that is
remote, making access difficult. Conflict
may arise at this stage over whether an Location shooting
Planning and preparation ensure that
idea is achievable within the constraints the shoot proceeds smoothly.
of available time and money.
The producer

Professional tips
A producer’s responsibilities during
pre-production include:
· Overseeing scripts and
storyboards
· Negotiating casting (agreeing
rights and fees)
· Booking crew and equipment
· Researching locations and
agreeing access
22–23
Different types of producer > The production process > The production team
· Researching possible use of music
and clearances
· Arranging production insurance
· Preparing and carrying out risk
assessment
· Drawing up production schedules
· Establishing a delivery date (changes
made later in the production can be
very expensive)
 The production process

Shooting on location
Although a producer will not
be directly involved in making
decisions about the creative
direction of a shoot, it is their
responsibility to ensure that the
creative vision can be achieved
The producer

within the limits of time and money.

 24–25

± Production

Production is when the project is filmed

on-set or on location. Depending on the
type of project and the size of the budget,
production may take days, weeks,
months or even years. The producer
will not generally be directly involved in
the creative aspects of the production.
It is the director who will be dealing
closely with the director of photography
(DoP), actors and participants. More
importantly perhaps, the producer will be
liaising closely with the director to ensure
that their creative vision can be fulfilled
within the limits of time and money. The
producer’s role is to organise, manage
and troubleshoot throughout the life of
the production. The key skills a producer
needs at this stage of production are
the ability to solve problems and to think
on their feet. However well planned and
organised a production, a producer
should expect things to go wrong.

Different types of producer > The production process > The production team

Running glossary

On-set scenes can be shot in studios

or stages, which are fitted out with
rooms, walls or backdrops by the art
department
On location real interiors or exteriors
used for filming
 The production process

Edit suite
The edit suite is where the film
footage is edited into the finished
film or programme.

Professional tips

A producer’s responsibilities during · Dealing with, preparing, and distributing

post-production include: publicity materials
· Finding an editor – where possible · Delivering the completed programme and
the producer needs to find an relevant paperwork to the client
editor who is compatible with · Ensuring outstanding bills are paid and a
the director and the project budget summary of all costs is completed
· Confirming edit and sound
post-production facilities
· Clearing outstanding music
The producer

and archive licences

 26–27

± Post-production The director, meanwhile, will work closely

with the editor to shape the final product.
Post-production is the final stage of
Often the director will want to be left to
the production process. This is where
work with the editor and will not want the
the filmed footage, known as rushes,
producer to be in the edit until the first
are edited into the finished film or
cut is finished. An experienced producer
programme. The producer must ensure
will see this as a positive situation as this
that the edit keeps to the production
will provide an opportunity to view the
schedule and budget. They always
director’s first cut objectively with a clear
have to be one step ahead to resolve
head and fresh eyes.
any unforeseen problems, such as
unexpected costs that may arise from
additional filming (reshoots) or the use
of too much stock; both of which can
eat into the post-production budget. The
student or inexperienced beginner will
often exceed the planned edit schedule
for a variety of reasons. He or she may
be slower to make decisions, be less
confident with the technology or just lack Editing
The editor needs to keep a keen eye
the ability to take an objective overview on the editing schedule to ensure that
about the emerging film. everything goes to plan.

Different types of producer > The production process > The production team
 The production process
± Linear and non-linear editing
Traditionally, nearly all television video
editing took place in a tape suite. The
feature was prepared by editing shots
sequentially, one after another, on to a
master tape, called ‘linear editing’. The
disadvantage was that in order to change
or move a shot, the editor would need to
return to the edit point where the change
was made and re-edit the sequence
from that point. This tended to be time-
consuming and expensive.
The advent of non-linear editing products
such as Avid and Final Cut Pro enabled
editors to move shots, change sequences
and alter durations at will and in minutes.
The only disadvantage of this system is
the amount of time it takes to digitise or
capture material for the project.
For more information on Avid and Final
Cut Pro, visit: www.avid.com and
www.apple.com/finalcutpro.
The key stages in digital post-production are:
Running glossary
Rushes shooting footage ready
for editing
Bins non-linear editing term
The producer
for the location of the digitised
rushes
• Digitising or capturing the shot
footage or rushes into a digital format
and organising the footage into bins
• Editing: the stage when the footage is
cut together
• Re-recording or dubbing dialogue
• Adding voice-overs
• Adding audio effects and music
• Sound dubbing: the stage where
all the soundtracks come together
to complement the final picture
• Grading or colour correction
• Laying back sound to video where the
final mix is added to the final picture
on a new master tape. (Versioning
needs to be taken into account during
this stage as, if a programme is being
shot abroad, it will need to be
transferred to the required format
or television standard. There are many
different video/digital formats
throughout the world)
• Dubbing delivery masters
• Dubbing backup masters
• Dubbing viewing/publicity copies
on to DVD or other formats.
Editing software
Software packages, such as Avid and
Final Cut Pro, are invaluable to the
editor as they enable them to move
shots, change sequences and alter
durations with a click of a button.
 28–29

Different types of producer > The production process > The production team
 The production process
± Sound post-production (sound dub)
Once the pictures have been edited
there is yet another crucial stage of
post-production to be negotiated before
the product is truly finished. This is to
create a final soundtrack. Before track
laying the soundtrack will usually contain
only the dialogue and sound recorded
on-set or on location. More often than
not the recording levels will be uneven
and a voice-over may be needed. Music
and sound effects may also need to be
added. This stage is called the ‘sound
dub’ and takes place when all the
separate soundtracks for effects, music
and voice-over are laid down and finally
mixed to create the final soundtrack for
the finished film.
Professional tips
There are various different TV
standards across the world. All TV
pictures are made up of a series of
horizontal lines. As a rule of thumb
the more lines there are, the better
quality the image on the screen. The
main TV standards are as follows:
· PAL (Phase Alternate Line) is used
in the UK and Western Europe.
The TV image is made up of 625
The producer
horizontal lines
All television and film productions are
a combination of both video and audio;
put simply, a combination of sound and
pictures. One without the other will
compromise and diminish the quality
of production. The importance of audio
track laying, mixing of the sound and final
lay back on to the master tape should not
be underestimated.
Sound and sound design are very
creative aspects of film-making and the
acquisition of good quality sync sound
during filming is a vital aspect of the
process. Unfortunately, these areas are
often overlooked by student film-makers,
either because of a lack of experience
or as a result of the pressures of filming.
This can lead to poor sound recording
and a lack of attention to detail in post-
production. This oversight can have a
dramatic impact on the quality of the final
film. Setting aside enough time to create
a sound design is extremely important
and should always be factored in.
· NTSC (National Television System
Committee) is used in the USA, Japan
and Canada. The picture is made up
of 525 lines
· SECAM (Séquentiél Couleur à Mémoire)
is used in France, Russia, Eastern Europe,
Asia and Africa. The picture has 625 lines
· HD (High Definition) is the next
generation of TV standards. The TV image
is made up of 720 or 1,080 lines
 30–31

± Delivery As well as a programme master, a

transcript of the programme will be
Once the project has been edited and
required. The transcript will be an
master tapes produced, the producer
accurate script of the programme
will be required to deliver or hand over
including all dialogue and interviews.
the programme to the broadcaster,
The transcript can also be used by
production company or client. It should
the legal department to check any
be remembered that a broadcaster
potential legal issues and is useful for
can reject a programme if the finished
the preparation of subtitles. Other legal
content does not meet the technical
paperwork required will be copies of
requirements outlined in its technical
all contracts, permissions, and footage
specification.
and music clearances. The producer will
The client or distributor will outline exactly also need to provide a final cost report,
what they need from the programme which will include the final budget in
with the producer. A master copy of the detail and an analysis of the final and
programme is the first item on the list. It is true cost of the programme.
always good practice to make two copies,
In order to maximise the potential
the master and a second or safety copy
audience for the project, publicity
as a backup. This will include a clean
material should be provided. This
M and E audio track or tracks if stereo.
could include publicity stills, images
The M and E track is separate to the
of the actors or participants and short
voice-over track and should be made
biographies of key cast and crew. The
available on the masters. Providing an
producer will always be aware that

Different types of producer > The production process > The production team
M and E track means that the project
programme delivery is not considered
can be made available for international
complete until the broadcaster or client
distribution. With an M and E track
accepts the finished show.
any foreign language broadcaster may
overdub their language using the clean
audio M and E track to make a final new
mix.
Running glossary

M and E music and effects track,

separate to the dialogue
Transcript the finished programme
including dialogue and interviews
 The production process

Distribution
Distribution is a vital part of the film-
making process. It is essential that
the film is seen by as many people
as possible.

Starting point/tips

Delivery materials checklist:

· Master tape with M and E track
· Safety copy
· Transcript or script
· Contracts
· Location contracts
· Music clearances
· Footage clearances
The producer

· Publicity stills
· Short cast and crew biographies
 32–33

± Distribution and exhibition ± Clearing up

What’s the point of all the hard work, the The final responsibility of the producer
sleepless nights, and the stress if the will be to tie-up any loose ends and
programme is not seen? It is essential to close down the production office.
remember the film should be seen by as They will need to check all bills have
many people as possible. Some projects been paid, send out publicity copies
will have a predetermined market, such and deal with any queries.
as a broadcaster. Others will have been
produced as part of college work or as
a calling card to the industry to advance
the career of a budding producer or
director. Whatever the background to
the project they all need some form of
distribution and exhibition.

Researching the distribution and

exhibition possibilities for a project
should take place early in development
and pre-production. Starting early in
the production and selling the project
before shooting enables the producer
to target appropriate markets. Money
should normally be set aside in the

Different types of producer > The production process > The production team
budget to cover the costs of this stage of
production. This will help pay for making
extra copies, film festival entry fees and
press kits.

Running glossary

Distribution markets for selling

programmes
Exhibition places to screen in front
of an audience
Press kit publicity package, which
includes relevant information for a film
 The production team
Both the TV and film industries have
traditionally operated on hierarchical
lines. All members of the production
team have tended to have very closely
defined roles and responsibilities.
However, technology is moving fast
and the arrival of lighter cameras and
delivery platforms are encouraging
multi-skilling and self-shooting. Today
one person alone can often direct,
produce, shoot and edit a project.
DIRECTOR
Responsible for the
creative and technical
realisation of the project.
SCRIPT EDITOR
Oversees and manages the
progress of the scripts.
CASTING DIRECTOR
Must fi nd suitable actors
for the project and work
closely with the director
and producer in pre-
production.
The producer
During the shoot, members of the
production team will be working closely
with the crew. Depending on the type
of production the crew can vary in size
from just a single camera person and
sound recordist to a crew the size of
a small army.
Key roles that may be found in the
production team include:
PRODUCTION MANAGER
Organises and co-ordinates
the production needs of
the project. They will
hire the crew and deal
with employment contracts,
organise equipment hire,
insurances, accommodation,
travel, catering and deal
with day-to-day production
problems. They will also
check and keep control
of the budget.
LOCATION MANAGER
Finds locations and
organises access as
necessary.

ASSISTANT PRODUCER
Responsible for much of
the researching, shooting,
scripting and editing,
especially in TV magazine
programme production.
PA (PERSONAL ASSISTANT)
Usually assists the
producer. They are
responsible for paperwork,
copying scripts, filing and
other office duties.
POST-PRODUCTION TEAM
Made up of the editor and
sound editor. They are
primarily involved in the
editing of pictures and
sound.
Starting point/tips
A basic crew will include the following
members:
· Director of photography:
(also known as a DoP or camera
person/lighting camera person)
34–35
RESEARCHER
Involved in the bulk of
the background research
of a project, identifying
key participants, facts
and locations.
RUNNER
Essentially a person with
energy, enthusiasm and
the ability to fit easily
into the team. The runner
is expected to engage in
all aspects of supporting
and assisting the
production team. Running
is traditionally the route
into the industry.
The production process > The production team
· Camera assistant: assists the shoot by
doing activities such as preparing and
labelling tapes
· Sound recordist: responsible for the
recording of all sound
 36–37

THE BASICS

Now that you have an insight into the role of the

producer, the next stage is to acquire some of the
essential knowledge and expertise needed to do the
job. As outlined in Chapter One, the producer’s role
is complex and involves dealing with many issues
and situations. A seasoned producer, while keeping
an eye on the day-to-day running of the project, will
have the ability to handle a range of business-related
issues and confidently negotiate with a range of
individuals and organisations.

So the next stage of familiarising yourself with the

job of the producer is to grasp some of the basic
professional skills and to be aware of some of the
legal and ethical guidelines.

This chapter will deal with the principles of copyright,

introduce basic legal and ethical issues and take into
account approaches to health and safety. It will also
touch on core technical issues and new technology.
The chapter will go on to establish the principles
of budgeting and scheduling as well as to consider
aspects of distribution, publicity and exhibition.

The producer > The basics > Producing documentary

Organisation and planning

A producer has to manage a lot
of different processes and people.
In order to do this they must
be organised, have exceptional
planning abilities and remain calm
under pressure.
 Producer greats: Lois Weber
The basics
 38–39

± The Marriage Clause, 1926

Synopsis

In The Marriage Clause, a Broadway

actress, Sylvia Jordan (Billie Dove),
becomes a star due to the guidance of
her director, Barry Townsend (Francis
X Bushman). The two fall in love, but are
prevented from marrying due to a clause
written into her contract by her producer
(Warner Oland), which prohibits her from
marrying during its three-year duration.
Feeling betrayed, Townsend retires from
show business, whereupon Sylvia falls
into decline, culminating in her collapse
on-stage during the opening night of
her biggest show. Eventually, Townsend
and Sylvia are reunited and the marriage
clause nullified.

Lois Weber

Lois Weber was a silent-film actor,

director, writer and producer and her
work was regarded as being equal to,
if not better than, her male counterparts.

Weber made hundreds of films

that ranged in subject matter from
controversial topics such as capital
punishment, religion, and politics; to
more intimate examinations of marriage
and relationships.
Producer greats: Lois Weber > Copyright
 Copyright

A favourite song, a clip from a feature There are international treaties such
film or an iconic photograph… as the Berne Convention, which have
harmonised the complex variety of
When a film-maker makes the creative
legislation. Creative Commons is a new
decision to include material from other
form of licensing aimed predominately at
sources such as music, photographs
work showcased on the Internet. It allows
or film footage in their film, the issue
work to be shared, copied or distributed
of copyright and potential copyright
under specific conditions decided by the
infringement is raised. There can be
creator of the work. It is something to be
serious legal and financial implications
aware of and may be relevant to some
for a producer if they use any material
types of production. Further details can
in the project that belongs to someone
be found at: www.creativecommons.org.
else without first negotiating a licence
or permission. If a programme-maker More information on copyright can be
decides to use certain footage or music found at: www.ipo.gov.uk,
they will need to receive permission or www.wipo.org and www.copyright.gov.
pay for the right to use it in their film.
It should be noted that an idea in itself
Copyright laws protect the writer, cannot be copyrighted, but the way the
musician, artist and film-maker from idea is expressed can, as in a script with
others using and exploiting their work dialogue and specific characters or a TV
without permission. A producer should programme format.
be thoroughly grounded in copyright
law and methods of clearing copyright.
Conversely, the law will also protect your
work from being exploited by others.

As all countries have their own copyright

laws and limitations, a producer will need
to familiarise themselves with these and
make sure they comply with them.

Running glossary Starting point/tips

Licence/permission a document When shooting on location any music

that outlines the terms/fee for using
music or footage in a film
Berne Convention international
agreement regarding copyright
The basics
playing on radios or sound systems
should be turned off where possible.
This makes editing less problematic
and avoids potential copyright issues.
 40–41

Producer greats: Lois Weber > Copyright > Legal, ethical and practical issues

Copyright
There are various copyright issues
to consider as a producer, and
each country has its own set of
laws and limitations. It essential
for the producer to be familiar
with these laws and to ensure
compliance with them.
 Copyright
± Copyright periods
Copyright covers a wide range of creative
works including books, films, music,
broadcasts and sound recordings, for
example CDs. Copyright protection
normally covers the life of the creator (for
example, writer, director or composer)
plus a clearly defined period of time after
their death. If it is not possible to trace the
creator, copyright usually expires a period
of time after the work was made or
made available.
As this period of time can vary from
country to country and can change with
amendments to legislation, the producer
will need to check closely the relevant
laws at the time of production to avoid
breaching copyright.
More information on copyright can be
found at: www.wipo.org and
www.copyright.gov.
Music clearances
If commercial music is being included
in a production, the producer will need
to identify who owns the copyright and
clear it ahead of delivery and screening.
Permission usually involves paying a fee
for the music used and having a licence
issued. The amount of fee paid depends
on a range of factors including how much
of the track is used in the film. Even if the
track is used for only a few seconds it still
has to be cleared and paid for.
The basics
A producer will have to clear all music
in a film, including background music,
unless it can be proved that it was
incidental or unintentionally included
during filming. For example, music played
over a public address (PA) system when
filming a documentary at a public event,
where the sound cannot be controlled.
The type of music clearances to
be negotiated normally include the
publishing rights and recording rights.
The publishing rights belong to the
owners of the lyrics and the composition.
The recording rights belong to the
performers of the music. This information
can be found on the packaging or by
contacting industry organisations.
During post-production the producer
will need to make sure a music cue
sheet is completed. This document
clearly describes all of the music tracks
used, their duration in the film and who
owns them. The music cue sheet will
be included in the delivery paperwork
required by broadcasters.
For low-budget projects the best way to
avoid the high cost of music clearance
is to commission specially composed
music. The producer will still have
to make sure that the composer and
musicians have given permission for
the music and their performance to be
included in the film, so contracts will
have to be signed.
Another option is to buy the use of
pre-cleared library music. For a small
one-off fee, library music can be obtained
from websites such as Media Music Now
(www.mediamusicnow.co.uk).

± Public domain
In some cases material may have no
recognisable owner and is described
as being in the public domain. This
material may be used without a licence
or permission. Material will be in the
public domain if the copyright has
expired or the owner has deliberately
put it into the public domain (a notice
will be placed with the material indicating
this). Certain government or public body
material is free of copyright, such as
footage from NASA’s space missions
(see www.nasa.gov).
The producer must be absolutely
certain and thoroughly research that
this is the case before including it in
any production.
Professional tips
The laws of copyright cover a wide
range of creative work including:
· Literature: books, plays,
screenplays and articles
· Drama: dance or mime
· Music
· Art: sculpture, paintings,
photographs and maps
· Sound recordings
· Film and broadcasts
42–43
± Fair dealing
Fair dealing (also known in the USA
as ‘fair use’) allows limited and tightly
controlled use of copyrighted material
in certain circumstances, such as news
reporting, criticism, review or private
study. There are restrictions on the use
of material, including the proportion of
the material that can be used in relation
to the length of the programme, that the
source is sufficiently acknowledged,
and that the work was previously made
available to the public. In countries such
as the UK, copyright law is complex
and ultimately it is the producer’s
responsibility to always ensure copyright
is not being infringed. If unsure, take
legal advice.
Producer greats: Lois Weber > Copyright > Legal, ethical and practical issues
Starting point/tips
Always assume that someone,
somewhere – be it an individual or
organisation – owns the material you
want to use within your programme.
The golden rule is to research,
research and research again!
 Legal, ethical and practical issues

Making programmes can involve dealing ± Defamation

with difficult subject matters, vulnerable
These are false comments,
participants or delicate situations. There
accusations or statements, which
will be occasions where the producer
could harm or affect the reputation of
is faced with having to make sensitive
a living person or company. A person
and considered decisions about what is
can sue for defamation if they believe
being filmed and why. It is a complex and
that their reputation has been harmed.
sophisticated part of film-making, and a
very serious part of the responsibilities
of being a producer.

Here are some of the basic pitfalls of

which a producer needs to be aware
when working on a project:

± Privacy

A producer will have to make decisions

about the type of filming undertaken
and consider whether it is invading
a person’s privacy and dignity. If the
filming is invading the privacy of an
individual, consider whether this is in
the public interest. An example would
be an investigative report into fraud and
corruption. Filming in certain sensitive
locations, such as hospitals, schools,
prisons and nursing homes, will require
permission from the relevant people.
Always stop filming if asked to do so,
unless there is a strong editorial reason
to carry on.

Privacy and consent

It is the producer’s responsibility to
decide whether or not any filming
The basics

undertaken in a public space is

invading a person’s privacy.

± Working with children
Any filming with children (broadly
defined as a person under the age of
18), paid or unpaid, is closely regulated
and will require permission from several
authorities. Apart from the parents or
legal guardians, the local education
authorities and school also have to
be closely consulted. There are also
regulations and restrictions on how long
a child can be on-set. The producer will
need to make provision for the education
and well-being of the child during filming
and organise an appropriate chaperone.
Working with children
Any filming involving children must be
approved by several authorities, as
well as the parent or guardian, before
shooting can take place.
44–45
± Consent
A producer must seek the consent of a
contributor, preferably in writing or on
camera. There will be some situations
when certain individuals will not be in a
position to give their informed consent.
They may be vulnerable individuals,
terminally ill or critically injured patients,
or the recently bereaved. It is the
producer who will normally have to
decide whether to film people incapable
of giving their permission and whether or
not it is appropriate to continue filming.
Copyright > Legal, ethical and practical issues > Health and safety
 Legal, ethical and practical issues
± Shooting on location
Filming anywhere outside of a studio or a
set is called ‘shooting on location’. In the
first instance a producer can work with
a location manger or location scout to
find the right type of property or exterior
location to meet the needs of a particular
project. At all times the producer will
need to have an eye on the budget as
well as the shooting and delivery schedule.
There are ranges of creative and
technical factors that need to be
considered when choosing filming
locations. At the very least the location
needs to have access to a range of
facilities such as electricity, water,
toilets, parking and public transport.
The following lists some basic issues to
consider for all types of location shooting:
The basics
Access
Any shooting on public or private property
requires permission. This must be
negotiated with the owners in advance.
The producer will need to ensure that a
location agreement or permit is signed,
a copy of which needs to be kept with
the rest of the production paperwork.
Depending on the budget, location fees
should be taken into consideration even
if this represents only a token amount
to cover, say, the use of electricity.
A courtesy payment often helps.
Insurance
Public liability insurance is necessary
when filming. This legally covers the
production against any injury or accident
to members of the public or damage to
property as result of filming. Depending
on the type of production, the producer
will also have to consider insurance to
cover employer’s liability (compulsory
in the UK – protects employees and
the company), cast, props, assets and
wardrobe, and errors and omissions
(producer’s indemnity). A college or
university may cover a student film-
maker; this will need to be confirmed in
writing. For a list of specialist insurance
brokers and further details, see:
www.theknowledgeonline.com.
Sound
When a location is chosen, attention
should be given to how it sounds.
This is important not only for the
acoustics, but to ascertain whether
there is any extraneous noise to
contend with.

Health and safety
The producer must ensure the safety of
the cast, crew and members of the public
at all times. A detailed risk assessment
must be produced for each location and
is often a requirement before filming
permission is given. All crew should wear
reflective vests when shooting after dark,
at sporting events and when shooting on
the public highway.
Police
Official police permission must be sought
if any street filming involves firearms,
nudity, replica uniforms or emergency
service vehicles.
Sound
A location is primarily chosen for its
visual look and size. Attention should
also be given to how it sounds. A
thorough recce of a location will indicate
any problems with acoustics, such as
creaky floors and extraneous sound,
such as busy roads, flight paths, factories
and schools. Having to stop and start
filming because of sound interruption
slows down the schedule and can cause
problems in the edit.
Running glossary
· Public liability insurance that
covers the production company
against claims for injury or damage
to property
· Recce pre-shoot visit to a location
to assess its suitability for filming
46–47
Weather
Be ready for rain, wind and snow.
Weather can have a dramatic impact
on the best-laid plans of the production
team when on location. Consulting a
five-day weather forecast can flag up
any potential problems, thus allowing a
well-prepared production to fall back on
alternative arrangements for the shooting
days, such as shooting indoors.
Looking after the location
It goes without saying that any location
must be respected and left in the
condition in which it was found. Nurturing
and maintaining a good professional
reputation in the business is essential.
You never know if and when you may
need to use the location or deal with
its owners again. Also, good practice
enables other production teams to work
there after you.
Many towns and cities have local
authority film commissions or offices
that can give comprehensive advice and
Copyright > Legal, ethical and practical issues > Health and safety
support to all professional and novice
film-makers.
 Health and safety

One of the responsibilities of the

producer is to ensure that the crew, cast
and members of the public are not put at
risk from filming and are safe at all times.
Filming can be inherently hazardous due
to the combination of camera equipment,
lights, crew and cast working in a range
of locations under pressure and to tight
schedules. The producer should identify
and minimise the hazard by asking the
following questions:

• What are the risks?

• What is the likelihood of something
going wrong?
• What is the severity of the risk?
• Who is at risk?
• What measures can be put in place
to prevent an incident occurring?
• What regulations or legislation need
to be considered?

Once these questions have been

answered the producer must prepare a
risk assessment form for each location.
The form indicates the type of hazard that
might be encountered, the severity of the
risk, any measures put in place and the
actions that might need to be taken. The
forms are completed and signed by the
producer before the shoot takes place.
The producer should countersign the form
if another member of the team has been
delegated to complete it. All members
of the crew need to be given a copy and
made aware of any safety issues.
Some types of production are inherently Potential hazards
more problematic than others. For There are various potential hazards
example, working with stunts, children or during filming, due to a combination
of equipment, such as cameras and
animals will present more unpredictable lights, and crew and cast, all working
and complex health and safety issues. to tight schedules and deadlines. It
For more information on health and is the producer’s responsibility to
ensure that any potential hazards
safety, see: www.bbc.co.uk/dna/
The basics

are minimised.
filmnetwork/legalguidehealthandsafety.

Health and safety
Before filming can begin, the
producer must identify all potential
risks and compile them in a risk
assessment form.
Starting point/tips
· Plan ahead
· Keep all equipment secure, and do
not leave it unattended
· There should be at least two crew
members on a shoot, especially
when using lights
· Do not put lights near anything
flammable or anything sensitive
to heat
· Ensure lights are weighed down
and cables taped down
· Keep all electric cables away
from water
48–49
Legal, ethical and practical issues > Health and safety > Shooting formats
· If shooting in a location where there are
animals or pets, ensure they are kept
safe and secure with adequate food,
ventilation and water
· Make sure people know where you
are going and that you can be easily
contacted on location
· Any filming that involves the use of replica
firearms or other weapons will need
special permission from the police and
local authorities
· Do not shoot anywhere without
permission and do not break the law
 Shooting formats

A decision that will need to be made ± Aspect ratio

early in pre-production is whether
This is the size of the screen image
to shoot on film or on a tape format.
measured by its width and its height.
This decision will be made for both
The two common ratios are 4:3 (standard
financial and aesthetic reasons. Film
definition) and 16:9 (widescreen). When
arguably looks better but is always
shooting in widescreen 16:9 the director
more expensive. However, the formats
should always remember to shoot
are converging and it is now possible
everything ‘4:3 safe’. This means the
to transfer film to tape so that it may
camera person will need to consider
be edited digitally. At the moment it is
framing every shot central to the screen,
almost always more economical to shoot
to ensure viewers watching on standard
on to tape than film.
non-widescreen televisions are not
missing any of the essential action.
± Tape formats
Today most television content in the UK
Currently there are several tape formats
is produced 16:9. Even if the content is
available to shoot on, each with varying
to be broadcast on a network still using
costs and image quality. The most
4:3, it is advisable to shoot 16:9 to future-
common are:
proof the material.
• VHS: Poor quality, cheap, used mainly
for duplication – in decline
• Mini DV: Smallest of the digital video
formats
• Betacam SP: Once an industry
favourite
• Digibeta: Currently the industry
favourite
• HDV: A higher quality format
• HD: Exceptional quality and detail,
making it a viable alternative to film.

Many of these formats will eventually

become obsolete because of significant
developments in new technology and the
shift to tapeless cameras. These cameras
allow footage to be recorded directly
on to memory cards, which can then be
directly downloaded, edited and played
out without using tape at any stage.
The basics
 50–51

16

9 Health and safety > Shooting formats > Budget

Extra Picture Area

Aspect ratios
The aspect ratio refers to the
size of the image on the screen,
measured by its width and height.
 Budget
Being able to manage and deal with a
budget is a necessary part of being a
producer, and this next section will look
at the fundamentals. A more detailed
approach to budgeting for drama,
documentary and magazine programmes
will be explored in Chapters Three, Four
and Five.
Early on in the production cycle, a
preliminary budget can be drawn up in
order to estimate the amount of money
a project will need. This will outline
broad categories, not specific details.
Experienced producers and production
managers are able to look at a script
or proposal and judge how much the
project will cost. This preliminary
budget and production schedule will
give an indication about when the
project can start and finish, whether the
project is viable and whether the people
involved are experienced enough to
handle it. It can also set the tone or
visual style of the project.
A detailed budget will be drawn up at
a later stage in development and pre-
production. At this stage the proposal
or the script will need to be broken
down and an indicative schedule drawn
up. As the script or proposal is developed
along with the inevitable rewrites and
drafts, the budget and schedule will
change to reflect this.
The basics
± The basic principles
The budget has to cover all three stages
of the production process:
• Pre-production
• Production
• Post-production
In order to be able to budget and
create a schedule for a production, the
producer needs to understand what is
required creatively and technically in
order to achieve the finished product.
The producer will always be working
within the parameters of limited time
and money.
Very early in the production the decision
on which format to shoot on will have
been made. Choosing the format to shoot
on will be influenced by the nature of the
project. For example, an observational
documentary may well be better shot
on a cheaper digital format rather than
expensive film stock due to the amount
of footage that will be shot during the
production period.
Once the format has been selected, the
producer will then have to estimate the
quantity of raw tape or film stock that is
affordable from the budget.
The amount of rushes shot in relationship
to the length of the finished film is called
‘the shooting ratio’. As tape is cheaper
than film, a project using tape can afford
to shoot more footage and is likely to
have a higher shooting ratio.
 52–53

The Blair Witch Project, 1999

If the idea, script, cast and crew for a
project are all strong, even a relatively
small budget can pay dividends.
This was the case for The Blair Witch
Project, which cost approximately
$22,000 to make, but grossed more Starting point/tips
than $240.5 million at the box office.

Fundamental budget questions: Shooting formats > Budget > Exhibition and distribution
· How long is each stage of the
production? Is it months, weeks
or days?
· Who is needed, when and for
how long?
· Can money be saved?
 Budget
± The budget basics
The budget is a financial assessment
outlining how much the film is actually
going to cost. In development, the
budget can be used to reassure potential
investors. During production it may be
used as the blueprint to gauge whether
the project is on course or drifting into
financial difficulties. A good starting
point for a novice producer is to
understand the structure of a budget.
Essentially, every budget is split into
two parts; these are the ‘above-the-line’
costs and ‘below-the-line’ costs.
Above-the-line costs are the script
and rights, the producer, the director
and cast. They are usually paid a flat,
negotiated fee.
Below-the-line outlines all the costs
needed to technically make the film.
These costs are usually paid on a
weekly or daily basis.
The basics
The budget should also have money set
aside to cover any cost overruns. This is
called ‘contingency’ and it is usually 5–10
per cent of the budget.
It is also essential that the budget
includes money set aside to cover
the cost of insurance. The insurance
will need to cover both the equipment
and fulfil the legal requirements of the
production. University and colleges may
well have their own policies to cover
student productions.
A budget can run to many pages, each
with complicated and detailed costings.
The first, perhaps most important,
page of the budget is called the top
sheet (opposite page). This summarises
at a glance the overall budget. It will
show above- and below-the-line costs,
subtotals of all production categories,
contingency, insurances and finally
the grand total.
Within the budget, each heading is
expanded into a detailed budget,
which breaks down the costs of each
department or category with a subtotal.
This will be explored in more detail in
Chapters Three, Four and Five.
The budget top sheet
The budget top sheet summarises all
of the different costs associated with
a production. This covers above-the-
line costs, below-the-line costs, and
contingency.
 54–55

Page 16

EP Budgeting
Budget Title :
Script Dated : Producer :
Budget Draft Dated : Director :
Production # : Location :
Start Date : Prepared By :
Finish Date :
Total Days :
Post Weeks :
Holidays :
Travel Days :
Acct No Category Description Page Total
815 STORY AND RIGHTS 1 0
825 PRODUCER'S UNIT 1 0
835 DIRECTOR'S UNIT 1 0
845 CAST 2 0
855 ABOVE-THE-LINE FRINGES 2 0
Total Above-The-Line 0
919 EXTRA TALENT 2 0
921 PRODUCTION STAFF 3 0
923 CAMERA DEPARTMENT 3 0
925 STILL PHOTOGRAPHY 4 0
927 ELECTRICAL DEPARTMENT 4 0
929 GRIP DEPARTMENT 4 0
931 PROP DEPARTMENT 5 0
933 PRODUCTION SOUND 5 0
935 WARDROBE DEPARTMENT 5 0
937 MAKE-UP AND HAIR 6 0
939 SPECIAL EFFECTS 6 0
941 SET OPERATIONS 6 0
943 STAGE/MOBILE UNIT RENTALS 7 0
945 SET DESIGN 7 0
947 SET CONSTRUCTION 8 0
949 MINIATURES 8 0
951 SET DRESSING 8 0
953 TESTS 9 0
955 2ND UNIT 9 0
957 PROCESS SHOTS 10 0
959 PRODUCTION RAWSTOCK & DEV 10 0
961 TRANSPORTATION 10 0
963 PROP VEHICLES & ANIMALS 10 0
965 LOCATION EXPENSES 11 0

Shooting formats > Budget > Exhibition and distribution

966 PRODUCTION FRINGES 11 0
Total Below-The-Line Production 0
967 EDITORIAL 12 0
969 MUSIC 12 0
971 PHOTOGRAPHIC EFFECTS 13 0
973 TITLES 13 0
975 POST PRODUCTION SOUND 13 0
977 LAB: FILM & PROCESSING 14 0
978 POST PRODUCTION FRINGES 14 0
Total Below-The-Line Post 0
979 INSURANCE 14 0
981 PUBLICITY 14 0
 Budget

± Scheduling The producer can then consider these

and produce shooting schedules as
As well as having to work out the budget,
well as daily call sheets. There will
the producer needs to assess how long
be different strategies for drama,
the project is going to take to shoot and
documentary and magazine programmes
then create a shooting schedule for each
(these will be explored within Chapters
day. The producer can provide answers
Three, Four and Five).
for these questions by breaking down the
script or proposal into sequences. The producer will continually be focusing
on optimising time and saving money.
The director will visualise how it is to be
shot and these ideas are subsequently
storyboarded or put into a shot list.
The basics
 56–57

Shooting formats > Budget > Exhibition and distribution

Storyboards
The director conveys how he
or she visualises the film to
the rest of the team through
the use of storyboards.
These can be used to inform
the production process.
 Budget

± Factors that can affect the schedule Children

and the budget
A primary responsibility of the producer
is to plan and anticipate any problems
that may delay or thwart the shoot or the
shooting schedule. The producer should
always think ahead and be able to plan
for unforeseen eventualities. These are
the type of things to look out for:
Weather
If the production involves shooting
outdoors, weather can be a big factor
when planning the shooting schedule.
Cold, dark, wintry days mean that the
working day will be much shorter than
during the summer. Severe cold can also
affect some of the equipment. In order to
maximise daylight, it is advisable to shoot
exteriors first before moving to an interior.
Access
As well as negotiating permission to
film at a location, the producer will also
need to assess the duration of each
day’s shoot. Other issues will also have
to be addressed, such as: How easy will
it be to transport equipment to and from
the location? Is there access to power
for lights? Are there any local catering
facilities? Where are the nearest toilets?
Apart from strict regulations about
filming with children and the length
of hours they can work, children have
a limited attention span and can lose
interest over a short period of time.
Special effects and equipment
These will incur expense because of
equipment hire, health and safety issues,
and the need for additional crew. The
shoot will therefore take longer due
to setting-up time, rehearsal time and
wrapping (finishing the shoot) etc.
Shooting at night
For a professional crew there are
regulations about the length of a shoot
and the scheduling of a day’s shoot
following straight afterwards. Night
shoots or weekend shoots can be
expensive and problematic, especially
when shooting exteriors.
Extras
The more people involved, the more
difficult the shoot becomes. Complex
shoots also obviously have financial
implications.
± Call sheets

Cast or participants Once the shooting schedule has been

confirmed call sheets will need to be
The producer may have to work within
prepared for each day of the shoot.
union regulations stipulating the length
The call sheet is a summary of all the
of the working day. Student film-makers
essential details of cast, crew and
will often find that they are required to
location for each day’s shoot.
fit their schedules around cast and crew
member availability. These may turn out
to be conflicting.
The basics
 58–59

CALL SHEET
PROD. CO: ……………………………………TITLE: BAXTER’S ISLAND
DIRECTOR: Laurence Park Timmons PRODUCER: Anita Lewton
Date: 27/01/05

CALL SHEET 1
NO

Director: Laurence Park Date: SAT 27/01/05

Timmons
Producers: Anita Lewton Unit Call:
Unit Phone: No mobile reception Breakfast: 07.30
On Set: 08.15
Unit Base: Estimated
wrap:
Sunrise/Sunset 8.20 / 16.42
Locations: 1. LOC1 – LIVING Weather: Max Day 8
ROOM Min Night 4
2. LOC2 – EXT. Moderate,
HOUSE sunshine
intervals

Loc Set/Synopsis Sc No I D/N Pgs Cast Story

No. / No. day
E
1 LIVINGROOM.(MUTE) 2 I N 1/8 1 1
Alvin sits with newspapers.
1a KITCHEN 3 I N 1/8 2 1
Martha prepares sandwich.

1a KITCHEN (MUTE) 5 I N 1/8 2 1

Martha hears Alvin and Miles
talking upstairs
1 LIVINGROOM 4 I N 2/8 1,2 1
Alvin and Martha talk about
taking miles fishing.
1 LIVINGROOM.(MUTE) 12 I N 3/8 1 3
Alvin begins to write letter.
1 LIVINGROOM.(MUTE) 15 I N 3/8 1,2 3
Alvin continues to write the
letter. Martha enters with tray.
1 LIVINGROOM.(MUTE) 17 I N 1/8 1 3
Alvin writes the final part of the
letter.
1b UPSTAIRS HALL 13 I N 1/8 2 4
Martha sorts through Miles’
things
1b BEDROOM 16 I N 1/8 2 4
Martha cries holding
shirt/jumper.
1c INT. HALL NYT 1a I N 2/8 1 1
Alvin on the phone talking
2 COUNTRY HOUSE. 1 E N 1/8 N/A 1 Shooting formats > Budget > Exhibition and distribution
(S/BY) Light on in downstairs window
Full moon shining/ trees / the
peaks of hills

Sample call sheet Professional tips

The call sheet is prepared by the
producer for each day of the shoot.
It provides a summary of all the Below is essential information needed
essential details of cast, crew and by both the crew and cast:
location for each day’s shoot.
Producers: Anita Lewton/Corazon Films and · Contact numbers for all the crew
Conroy Park International
· The shooting location/locations for
the day, with maps
· What is being shot each day
· Start time and the wrap (finish) time
· The location of first aid facilities
and details of local hospitals
 Budget
± Technology
Producers and production mangers can
use computer budgeting and scheduling
programmes that manage the process.
It is worth looking at EP Budgeting and
Movie Magic. However, the software
is expensive and for a low-budget
production a budget and schedules can
still be drawn up manually.
For more information, see:
www.entertainmentpartners.com.
Professional tips
The production file should include
sections for:
· Budget
· Location agreements
· Permissions and contracts
· Insurances
· Contact lists: to include
participants, crew and
other contacts
The basics
± The production file
Organisation is essential for the smooth
running of any production. Whether or
not you have access to a production
office, the producer will need to make
sure the production is well organised. It’s
a good idea to keep a detailed production
file for all the relevant paperwork. The
producer should also ensure that all
rushes/tapes are numbered, labelled and
kept in one safe place. Ideally, this will be
in the same location as the film is being
edited. A logging notebook should be
kept with them too.
· Production schedules
· Call sheets
· Risk assessments
· Scripts and background research notes
· Post-production logging sheets, paper
edits etc
· Publicity materials and images
 60–61

Shooting formats > Budget > Exhibition and distribution

Production file
The production file is an essential tool
in the organisation of the production.
It contains all relevant paperwork,
which can be easily accessed as and
when required.
 Exhibition and distribution

Getting the project seen widely or There are several ways programmes and
distributed to as large an audience films can be exhibited and distributed:
as possible is the final stage of the
• Theatrical: this is another term for
production process. Recouping the
cinema release
financial cost of making the project is
• Non-theatrical: can include institutional
an essential part of the producer’s job.
markets where programming is
If a broadcaster or production company
needed for educational or instructional
has funded the project, they will, in most
purposes, such as schools, prisons
cases, meet the cost of publicity and
and libraries
the marketing of the project. It is the
• Exhibition: such as film festivals
producer’s responsibility to make sure
• DVD distribution
that the necessary contracts and publicity
• Television: network, satellite
materials have been delivered along with
• Internet and other digital formats
the master tapes of the programme.
– eg mobile phone.

The latter two markets are going through

massive change and evolution, with
TV and Internet platforms increasingly
coming together to provide and deliver
programme content.
The basics
 62–63

± Multiplatform delivery The broadcaster may be in a position to

sell their programme to other countries
Broadband, mobile phones and other
and territories. There are several
portable devices, websites, interactive
international markets where the film and
gaming and developing media…
programme rights are bought and sold.
The start of this century has seen The main ones are MipTV and Mipcom.
a revolution in the way that TV and
For the independent or student producer
programming is being viewed. The
without a PR or press department
audience is no longer tied to the TV
behind them, the marketing of a film is
schedules, they can pick and choose
a very different and often more difficult
what they want to see, where and
proposition. The most obvious markets
when. Consumers can often be
to target are film festivals, TV stations
using several forms of technology
and the Internet. The producer should
simultaneously – a term called ‘media
be aware that if a film finds its way on to
stacking’. The conventional broadcasting
Internet sites, such as YouTube, which
of programmes is being redefined.
allow free access to the film, copyright
Interactive and converging media
issues may arise.
platforms are opening up programme
content and creating new ways of There are also specialist short film
distributing it, not only for traditional distributors who can be approached to
broadcasters but for independent film- handle the distribution of short films.
makers too. It is changing the ways in
For further details see:
which content is being developed and
www.britishcouncil.org/art-film-festivals.htm
produced. New creative strategies and
www.dazzlefilms.co.uk,
processes are being developed to exploit
www.miptv.com and
this new technology for new markets and
www.mipcom.com.
a highly fragmented audience.

The producer will need to have a creative,

technical and business understanding of
this changing environment.

Starting point/tips

· When making your own films

Budget > Exhibition and distribution

always think about maximising

Publicity
Publicity is essential for any
production, and can take many
different forms, such as this
poster from Shelf Lives, which was
distributed widely to publicise the
film.
Producers: Amanda Jenks and
Charlotte Worthington
publicity
· Shoot stills during production
· Make sure you have all the
correct permissions
· Think creatively and use
opportunities during production
· Start selling before you shoot
· Set up a website
 Exhibition and distribution
± Publicity
The short film is a calling card for many
producers, directors and writers – a way
to get their name and work known in the
industry. Early on in the production the
producer needs to be thinking about how
to get the film noticed and talked about.
In other words, publicity.
Publicity is essential for any production.
Whatever the market, the project needs
to have a viable publicity and marketing
identity. It is a good idea to include some
publicity costs within the budget. Also,
engage a photographer to take stills of
the cast and crew in action on the days
of the shoot. Briefed properly, they will be
able to capture key images, which can be
used in publicity material such as press
packs, posters and production websites.
As well as organising stills, the producer
will have to put together other publicity
material or a publicity pack. Updated
regularly, it is used to promote the film to
distributors, film festivals and industry
players. It can be either a paper copy,
CD or an electronic press pack ready
to be sent at the click of a button.
Running glossary
· Music cue sheet list and timings
of all music used in a production
· Aspect ratio size of the screen
image
The basics
· Log line a short introductory
summary of a film
The following material should be in
a publicity pack:
• Copies of copyright clearances,
licences and contracts. A music cue
sheet will be needed if commercial
music is used in the film
• Technical details including the aspect
ratio, running time and shooting format
• A transcript – the final script as seen
and heard on the screen
• A credit list of complete cast and crew
• A short and long synopsis of the film
• A log line – a snappy one- or two-line
summary
• A set of publicity images. Ideally high-
resolution jpegs clearly labelled with the
film title, scene and cast/crew names
• Other visual material, such as posters
or flyers
• Any other information, such as awards
• Copies of the film with the title and
contact details.
With hundreds of film festivals held
across the world every year, the producer
needs to research and enter the most
appropriate for their project. For
example, some festivals target particular
groups, genres or themes, while others
are accredited by the industry or other
professional organisations. With the
right strategy and by getting your film
accepted at festivals, you can raise
your profile, attract distributors and
make contacts. It can be an expensive
business, so the producer needs to have
money to cover entrance fees, film copies
and press kits.
For more information about distribution
and marketing, see:
www.withoutabox.com.
 64–65

Budget > Exhibition and distribution

Publicity stills
These stills for Baxter’s Island were
used as part of the publicity pack.
Producers: Corazon Films and Conroy Park
International, and Anita Lewton
Director: Laurence Park Timmons
 66–67

PRODUCING
DOCUMENTARY
The first two chapters of this book have been designed
to lay down the basic building blocks needed to
understand the role of the aspiring producer. It has
been an attempt to sketch out the responsibilities of the
producer’s job. From this point onwards this book will
explore in greater detail the producer’s role in making
documentary, drama and magazine-type content.

Chapter Three sets out to explore the producer’s

responsibilities, role and strategies when it comes to
documentary production. It looks particularly at the
principal aspects of professional production and how
this may relate to student or independent production.

This chapter will also focus on the basic production

knowledge required by a novice documentary producer.
The complex areas of co-finance, finding project
partners and negotiating international funding will not
be addressed on this occasion.

It should always be remembered that there are many

ways to tell stories and to make films. The following
sections of the book are designed to offer a range of
relevant information that the budding producer can
apply to his or her own project.

The basics > Producing documentary > Producing drama

Hair
There are many ways to tell stories
and make films, and Hair, a short
documentary about a London
hairdresser, is just one of them.
 Producer greats: Susan Frömke
Producing documentary
 68–69

± Grey Gardens, 1975

Synopsis

Grey Gardens is a documentary, which

depicts the everyday lives of Edith (Big
Edie) Ewing Bouvier Beale and her
daughter Edith (Little Edie) the aunt
and first cousin of Jacqueline Bouvier
Kennedy Onassis. The two women lived
in squalor and isolation at Grey Gardens,
a decrepit mansion in the neighbourhood
of East Hampton, New York.

Susan Frömke

Susan Frömke is a producer, director

and writer who has won numerous Emmy
and Grammy awards for her work. Her
career has spanned over 30 years, during
which she has worked on both drama and
documentary productions.

Producer greats: Susan Frömke > The team

 The team

Most documentary production teams On a student or independent project,

tend to be smaller than those needed due to obvious financial constraints, the
for drama or magazine programmes. crew will tend to be small; it is even not
The main reason for this is that budgets unusual to have one person covering a
tend to be smaller. Documentaries multitude of roles.
don’t require an extensive crew. They
The job titles are as follows:
don’t need costume designers, art
directors and technical specialists.
Also, documentary styles, such as
observational film-making, require
small crews who are less intrusive and
therefore more likely to develop an PRODUCTION MANAGER
intimacy with the subject.
Responsible for managing
the budget and day-to-day
running of the production.
EXECUTIVE PRODUCER
Can be a commissioning
editor from a TV
broadcaster or production
company. Provides the
fi nance for the film.
RESEARCHER
Assists the director
in fi nding key stories,
participants and
PRODUCER
background information.
Works with the director
to get the film made.
Answerable to the
executive producer.
FIXER
From the local area
where the filming takes
place, providing detailed
DIRECTOR
knowledge and access.
Key creative and editorial
decision maker, sometimes
taking on elements of
Producing documentary

the producer’s role. Some

directors work without a
camera crew, shooting all
their own material.
EDITOR
Assembles the film from
the shot footage and works
closely with the director.
 70–71

Producer greats: Susan Frömke > The team > Documentary styles

Documentary production
Observational documentary
film-making requires only a small
crew and can comprise of as few
as one person. This allows a more
intimate exploration of the subject,
as well as making the most of the
financial constraints associated with
producing documentaries.
 Documentary styles

A producer should be aware that there There are of course many ways to tell
are a number of different types of a story and the documentary medium
documentary film-making. He or she will is constantly evolving. Although not a
need to have definite ideas as to the film’s definitive list, the following illustrates
approach – the tone, style and focus of the main categories:
the developing project. The approach or
• Sport
style may be dictated by the film’s market
• Observational
or the available slot on a TV channel.
• Science
Early on in the production process the • Travel
producer should have a clear idea of the • Political
type of documentary being made. He or • Drama documentaries and
she will have firm ideas about subject reconstruction/recreations
matter, participants and shooting style. – docudrama
Another way of understanding this is • Archival – using third-party
to think of the approach; how the story or stock footage
gets to the screen and how the film is • Historical.
going to look.
Producing documentary
 72–73

Documentary styles
There are many different styles of
documentary film-making. Cage
Fighter is an example of a sport
documentary (see Chapter Six:
The team > Documentary styles > Development

Learning Curves).
 Development
‘Development Hell’ is a well-known
industry phrase that sums up the tricky
part of any production, which is to root
out a fresh and compelling story, pin
it down and find the money to make it.
This part of the production process very
often requires tenacity, patience and
nerves of steel as it can take a long time
to get a project on the screen. Many
projects never get beyond this stage and
dealing with rejection is very much part
of the process.
± The idea
The first stage in the making of a
documentary is to find and then develop an In this type of production situation the
original idea. This is called the development producer’s role will be to manage the
stage and it is when the initial thought or
concept is researched and transformed
into an engaging proposal.
± Research (or how to find your subject)
The crucial questions to be explored by
the producer at this stage essentially
centre around identifying the story and
the key characters. Some questions that
need to be answered are: Is the topic
hitherto unexplored? Is it a familiar story
with a new angle or new access?
Producing documentary
The key to a successful documentary
always depends on access, the subject,
the depth of the background research
and the way in which the emerging
story is shaped.
Depending on the particular nature of
the project the producer may or may
not be closely involved in the initial
research of the programme idea. If
seed funding or development money
becomes available, a researcher may
be hired to unearth key information,
locate key participants or identify key
visual content, such as archive footage,
newspaper articles or photographs.
initial research, gather the relevant
material and work with the researcher
to hone it into a proposal and treatment.
Alternatively, the production team
may include a researcher, a producer
and a director at the early stages of a
project. Each member of the team may
be involved in the smallest detail and
nuance of the research.
These preliminary stages of production
research may take place across a
broad range of avenues. The following
is a checklist designed to help collate
enough information to develop a well-
researched documentary proposal:
• Organise research
• Develop and write a proposal
• Check access and rights to story/
characters where relevant
• Locate possible backers/
broadcasters.
 74–75

Research Running glossary

Materials, including notebooks,
sketches and photographs, are · Seed funding money for
essential tools when carrying out the

Documentary styles > Development > Proposal and treatment

initial research for a project. development, which may have to
be paid back. Can be traded for a
credit or percentage of any profits
if the film is sold
· Researcher this person will
identify key contacts, sources
and will verify information relating
to the programme
 Development
± Research – where to go:
A producer’s guide
There are a range of familiar places to
research background material:
THE INTERNET
The World Wide Web can
provide easily accessible
and detailed information,
references and ideas.
However, some areas of
information are worth
double-checking for
accuracy and veracity
due to the nature of the
medium. The Internet can
also provide opportunities
to contact groups or talk
to people directly. Blogs
may also be a useful
resource to access (see
Chapter Six: Learning
Curves).
NATIONAL AND LOCAL
NEWSPAPERS
Newspapers can provide
useful sources for
contacts and reference
material. Archive
libraries may provide
public access to
Producing documentary
publications going back
two hundred years.
FILMS, TV ARCHIVE AND
OTHER BROADCAST MATERIAL
Archive sources can
provide valuable
background information
and may help clarify
whether certain
individuals have been
the subjects of other
documentaries in the past.
DIRECTORIES, YEARBOOKS,
ANNUALS AND DATABASE
DOCUMENTS
These are useful sources
for fi nding people and
organisations. Yearbooks
will also indicate any
key events, anniversaries
and celebrations.
OFFICIAL PUBLICATIONS
Official documents
produced by governments
and other official bodies.
Most government agencies
and public bodies publish
comprehensive sources of
contemporary data and
statistics.

PARTICIPANTS
Identifying the
appropriate person or
people to participate in a
documentary is obviously
crucial. Finding credible
contributors is critical
to a project. This process
can also be known as
casting. In many ways
there are similarities
to drama. Both require
interesting characters
to tell the story – they
are essential to how the
story unfolds.
Starting point/tips
· The producer needs to know early
on how easy it will be to involve
people in the project. For obvious
reasons high-profile participants
tend to be more difficult to
access and to film. They may
demand some say over how their
contribution is used during the
editing process.
76–77
OTHER DOCUMENTARIES
A producer needs to be
aware of the competition.
Viewing a range of
documentaries that have
already been made is a
useful research tool.
· The research may also involve experts
in their field to highlight interesting and
relevant information. This allows key ideas
Documentary styles > Development > Proposal and treatment
and perspectives to be presented in an
accessible way.
· It is the job of the producer and director
to turn often complicated and specialist
knowledge into an entertaining and
accessible programme.
 Proposal and treatment
Once the preliminary research has
been completed the raw content can
be developed into a proposal and then
a treatment.
The proposal will be the key selling
or pitching document for the project.
A producer will always be required to
explain the project right through to final
delivery, but this is the stage when the
pitch opens the door.
The proposal should always present what
can often be complex or sensitive ideas,
in a compelling way. The writing needs to
be simple and direct. It should catch the
eye, ear and imagination of whoever is
reading it. It is a way of envisaging a film
before it is made.
Starting point/tips
The initial proposal will clearly
outline the idea and key contributors.
Ideally the proposal will not exceed
two sides of A4 (8x10) paper. The
commissioning agent will often
Producing documentary
indicate the optimum length. Do
not write more than two sides
and be concise. However strongly
you feel about the project, most
commissioning editors have limited
time and, in many cases, little
attention span.
The proposal will include a description
of the project, identify the key
participants, and argue why the project
should be made. The most important
consideration for a producer when
writing this document is that it needs
to be compelling. It needs to tell a good
story. It should also be remembered that,
fundamentally, we are discussing a visual
medium. The documentary is not merely
a vehicle for a conversation or a lecture.
The proposal should indicate the length
of the production period and outline any
preliminary production plans. It should
identify the intended audience and,
where relevant, include any letters of
support or agreements for contributors
to be involved. This will help give an
indication of the project’s viability.
Alongside or within the proposal there
should be a treatment. The treatment
puts into writing how the project will look.
On the screen, this will give a feel for the
mood, shooting style, the locations and
the contributors.
Running glossary
· Treatment a description of the
documentary outlining the story
and contributors while conveying
its mood and tone
· Pitch a short and snappy
summary of the project
 78–79

Treatment
E

This film will attempt to highlight the realities of post-natal depression (PND) as told through
the diary of a sufferer. Although the woman doesn’t physically experience all the different
theories behind the cause of the problem or the associated remedies, the film will,
nonetheless, explore these and talk to the people behind them and those that have
benefited.

Transmission
The film will be suitable for transmission to an evening audience on either BBC2 or Channel
4 – accessible science! The aim is to get away from the commonly held view that PND is
either a trivial by-product of childbirth or a woman-only issue and to educate a wider
audience about the social impact on the whole family unit – including men.

Treatment
The story will be told from a first-person point of view – with voices of different, anonymous
women speaking – this could be extracts based on my diary.

It will be introduced at the beginning by X – she will talk about how her life has changed
since the publication of her book and briefly introduce the viewer to her story. Despite X
being one of the most ‘high profile’ sufferers she has never before agreed to go public
about this intensely personal period in her life. The programme will take the form of a
‘personal journey’. X will introduce post-natal depression from a personal point of view –
the emphasis will be on the fact that this, for many women, is a very serious problem, more
importantly it is a debilitating mental health problem that is experienced by a large
proportion of new mothers and has serious knock on effects for the whole family unit. It is
NOT feeling a bit weepy for a couple of weeks – it is day after day of unrelenting black
tunnel from which there seems little chance of escape.

X will explain that far from this being a problem suffered by ‘celebrities’ complaining to a
magazine that they can’t get back into their size 10 jeans – the severest form of post-natal
depression is the single biggest killer of women in the first year of their child’s birth.

Y runs the […] association, which runs a network of volunteers who counsel sufferers on the
phone, by email etc. Y will explain some of the facts behind the illness and explode some
of the myths. She explains how it can affect anyone, anytime – rich/poor,
working/unemployed, large family network/single mothers. She will introduce us to […]
who has been a volunteer for eight years and she tells X how she approaches a
depressed mother and the key issues that she wants them to believe.

I had approached Z to explain her theories of hormonal effect on post-natal depression –

in her ‘absence’ Z can either discuss this herself or will approach the […] doctor to step
Development > Proposal and treatment > Budget

in. It is one of the cause/remedies that I would like to explore.

X will talk to a midwife from […] Health Trust about the importance of ante-natal home
visits in getting to know the woman BEFORE she has a baby; they are then a lot more able
to make an informed judgement about her mental state after the birth.

Treatment
The treatment outlines how the
programme will look on screen.
It will give an impression of the
mood, shooting style, locations
and contributors.
Copyright: Elaine Pierson
 Budget

Another important part of the producer’s There are several questions that need to
role is to draw up and attach an outline be asked when drawing up the budget.
budget with the proposal and the These are:
treatment. If the producer is applying
• How long will each stage of the
for funding, this will be an absolute
production take – is it months, weeks
requirement. The budget will show the
or days?
producer is capable and experienced
• How many shooting days are there?
enough to be considered for funding.
• Who is needed?
There will be situations where this may
• What is needed?
not be necessary, for example, the
• Can money be saved?
project may be developed within a TV
or production company. Generally, a documentary budget tends
to be less complicated than a drama
The indicative budget will cover the
budget. There are fewer elements to
production costs. Drawing up a proposed
cost, smaller crews, less equipment
production schedule showing how long
and often less-complicated shooting
the project is expected to take to shoot
scenarios. The budget will still be linked
will help this process.
to a shooting schedule.
The basic principles of budgeting, as
If you are writing up a budget, these
discussed in Chapter One: The Producer,
are key elements to keep in mind:
should apply here.

MISCELLANEOUS COSTS
You should budget for
everyone and everything.
If you don’t, you may have
to carry the cost out of
Professional tips
your own pocket. These
The budget should cover all of the costs may include:
provisional stages:
· Telephone
· Pre-production
· Photocopying
· Production
· Travel
· Post-production
· Copies of the fi nished
documentary
Producing documentary

· Tape cost, including the

shoot and masters
copies of the completed
documentary
· Insurance

COPYRIGHT
On a low- or no-budget
documentary the cost
of clearing a piece of
music or footage can be
prohibitive. For instance,
if you use music in the
film and haven’t cleared
it you could find yourself
in serious trouble.
Alternatively, a specially
commissioned piece of music
may prove cheaper and may
help market your product.
EQUIPMENT
Even if you know you
can get a good deal on
equipment or a location for
little or no cost, enter a
costing in the budget. Any
money saved can be used
elsewhere in the project.
It pays to be flexible.
OTHER COSTS
Always feed the crew and
participants properly on
the shoot. It shows respect
and encourages the crew to
work hard. Also, offer to
pay travel costs – up to
a limit.
80–81
PUBLICITY
Always put something in
the budget for publicity.
This will cover the cost
of stills and posters to
publicise the film. Website
publicity, flyers and
invitations to screenings
all help. This is one
area the novice film-maker
tends to overlook.
FILM FESTIVALS
Try to remember to put
something in for film
festival entry fees and
DVD copies.
YOUR TIME
Pay yourself, even if it’s
only a nominal amount.
Even if you own your own
equipment enter at least
Proposal and treatment > Budget > Pre-production
a cost for insurance as
well as wear and tear.
 Budget

budget.xls

Programme Budget Schedule 4

Schedule Ref. Direct Costs & Overheads Total £ Sterling

5 Story/Scripts/Development #REF!
6 Producer/Director #REF!
7 Artistes #REF!
8 Presenter/Interviewees etc. #REF!
9 Production Unit Salaries #REF!
10 Assistant Director/Continuity #REF!
11 Crew-Camera #REF!
12 Crew-Sound #REF!
13 Crew-Lighting #REF!
14 Crew-Art Department #REF!
15 Crew-Wardrobe/Make-up/Hair #REF!
16 Crew-Editing #REF!
17 Crew-Second Unit #REF!
18 Salary & Wage Related Overheads #REF!
19 Materials-Art Department #REF!
20 Materials-Wardrobe/Make-up/Hair #REF!
21 Production Equipment #REF!
22 Facility Package Arrangements #REF!
23 Studios/Outside Broadcast #REF!
24 Other Production Facilities #REF!
25 Film/Tape Stock #REF!
26 Picture/Sound Post-Production-Film #REF!
27 Picture/Sound Post-Production-Tape #REF!
28 Archive Material #REF!
29 Rostrum/Graphics #REF!
30 Music (Copyright/Performance) #REF!
31 Travel/Transport #REF!
32 Hotel/Living #REF!
33 Other Production Costs #REF!
34 Insurance/Finance/Legal #REF!
35 Production Overheads #REF!
36 Theatrical Performances
37
38

Total Directs Costs and Overheads #REF!

Budget
The costs attached to the production
Producing documentary

should be worked out on a weekly or

daily basis. At the top of each page
will be the following headings:
Amount (days or weeks).
Units (how many days or weeks is
the equipment or person hired for?).
Rate (the daily or weekly cost of the
person or equipment hire).

± How is a shooting schedule
produced?
Documentary schedules will generally
be built around key days/events and the
availability of the contributors. These
set dates will be the building blocks
around which the rest of the shooting
will take place. The producer should aim
to maximise the potential of each full
day of shooting. Usually, the crew and
equipment will be hired on a daily basis.
82–83
± Sources of finance
As well as the broad list of source
funding outlined in Chapter Two: The
Basics, there are specific organisations
and resources that deal specifically
with documentary films within the
UK. DFG Docs (www.dfgdocs.com) is
a good starting point and has links to
documentary associates across the
world. For European information, visit
the European Documentary Network
(www.edm.dk).
Proposal and treatment > Budget > Pre-production
Shooting schedule
The shooting schedule will be
worked around key days, events
and the availability of contributors.
 Pre-production
Once the proposal has been accepted
and the money is in place, the project will
enter the next phase – pre-production.
The producer will need to ensure that all
the detailed research is being progressed
and is being taken into account within
the production treatment and proposed
shooting schedule.
At this stage of production the people
most likely to be involved are the
producer, a researcher and the production
manager. A director may also be closely
involved during the research stage.
± Key stages for the producer
At this stage the producer will need a
base from which to work and so will need
to find and set up a production office.
Filing systems will need to be set up for
various elements of the production as
well as ensuring that ongoing research
is taking place and detailed notes are
being kept by the researcher. It will also
be necessary to ensure that access and
any rights are negotiated well in advance
of the shoot where possible. The types of
rights that need to be considered are:
• Archive clearances for film
• Clearances for photographs
• Access rights to public events, such
as sporting events
• Story rights if dealing with individual
contributors.
Producing documentary
Location agreements are also a necessary
part of the pre-production process. If
it is vital that certain scenes are shot in
particular locations it may be necessary to
get access in advance. This will also apply
if the film is to be shot in places that need
specific permission, such as schools,
prisons, hospitals or sports grounds.
± Building relationships
The importance of building trust and
nurturing contributors cannot be
overstated. Reassuring participants and
helping them to be comfortable with the
camera is also important. The producer
will need to make sure someone takes
responsibility for this. This may mean
making several visits to locations with the
participants without a camera, chatting
and observing day-to-day events and
group dynamics. This is part of an ongoing
process. It may also identify important
new information, which may need to be
added to the shooting schedule.
± Hiring key members of the crew
Documentary crews are usually very
small and often number no more than
a camera person and sound recordist.
Some producer/directors are able to
direct and shoot the project themselves.
This approach will usually be adopted
where intimacy and immediacy is of
paramount importance. A small crew is
obviously less intrusive. Alternatively,
some projects may require a larger crew,
such as a long-running series.
 84–85

± Booking travel and hotel arrangements ± The production file

If the project involves shooting abroad The production file is vital for the smooth
or takes place in multiple locations away running of the production. See Chapter
from the production office, travel and Two: The Basics for more detail.
accommodation will need to be taken
into consideration. This will have to be
planned alongside the shooting schedule.

Budget > Pre-production > Production

Crew
Documentary crews are usually very
small, and it is not unusual for one
person to act alone.
 Production

A feature of some factual and documentary

productions is that the go ahead for
filming can happen very quickly, often
as a response to events. An experienced
producer/director will be able to quickly
step in and get the job done. Of course,
there are other productions where the
run into production allows more time for
preparation. Whatever the situation, the
key to a successful production is planning.

± The script

At some stage in the pre-production and

production processes all the research
will need to be collated and shaped into
a programme structure. Initially this
may take the form of an outline script.
Depending on the type of documentary
there may also need to be a commentary or
voice-over (V/O) written. For some types of
documentary the V/O may well be crafted
early in the project, for others films the V/O
will be written during post-production.

The script can be written in the form of

a traditional screenplay or in a double-
column format where the page is split
in half. The right-hand side will describe
the audio and the left-hand side will
describe the visuals. Audio may include
commentary, dialogue, sync sound, voice-
over and music.

Software programmes may help, such as

Final Draft AV (www.finaldraft.com), which
provide templates with which to work.
Shooting on location
The go ahead for filming a
documentary can occur very
Producing documentary

quickly. It is important that the

producer/director is able to act
quickly on this to get the job done.
 86–87

± Paying contributors If an expert is involved behind the scenes

Commonly interviewees are not paid. of a production (such as an academic or
The issue of paying contributors needs a scientist) it is not uncommon to pay a
to be considered on a case-by-case small fee for their time and expertise.
basis. In an ideal world the participants
will take part to get their voice or stories
heard. An initial decision not to pay a
fee may have to be revised because
of changing circumstances. Ideally,
contributors who are paid for their time
and expenses should not be led to believe
that they are entitled to editorial control Final Draft AV
over their appearance. Some producers Software programmes, such as Final
Draft AV, provide templates, which
may offer payments in kind, such as can be used to create the script.
making donations to a charity. (www.finaldraft.com)

Final Draft AV File Edit View Insert Format Tools Window Help
arctic.xav

Dialogue
Save Print Cut Copy Paste Insert Video Insert Audio Scene/Shot Current Element

-1-
Agency MM Worldwide Group Writer Gerald Franks
Client Unadventurer's Inc. Producer Cameron Ford
Project VC-4X Director Steven Donovan-Lee
Title Arctic Escape Art Director Dave Sharpe
Subject Life in the Northern Wastes Medium HD
Job# 76D Contact M. Belle
Length 24 mins Draft 7B-AD
VIDEO AUDIO
§ OPEN ON DESOLATE ARCTIC JIM:
WASTELAND, VARIOUS SHOTS (REVERENTLY)
THOUGH IT SEEMS UNLIKELY, THE ARCTIC
CONTAINS ALL KINDS OF WILDLIFE.
Pre-production > Production > Post-production

JANICE:
THIS HARSH ENVIRONMENT IS HOME TO A WIDE
DIVERSITY OF ANIMALS.

§ (MONTAGE) VARIOUS SHOTS OF JIM:

CARIBOU HERDS IN MOTION CARIBOU MIGRATE OVER GREAT DISTANCES

§ VARIOUS SHOTS OF SEALS ON ICE JANICE:

AND BELOW SEALS FROLIC ON ICE FLOE AND BELOW THE
SURFACE.

_ MOSQUITOS SWARM JIM:

SWARMS OF MOSQUITOS AND BLACK FLIES
TAKE ADVANTAGE OF THE ALL-TOO-BRIEF
SUMMER.

§ MCU JIM & JANICE ON ICE FLOE JANICE:

WELCOME TO THE ARCTIC! THE LONG ARCTIC
WINTER HAS BEGUN.

JIM:
ALL THE ANIMALS - ON BOTH LAND AND SEA

1 of 1 Dialogue [Tab] Next Video Description [Return] Dialogue

 Production

± Copyright and clearances

The producer must always be in control

of the production content. He or she
must be aware of any corporate logos,
background music or contributions,
which may require clearance. Where
possible any background music should
be turned off. There will be occasions,
such as public events, where this will
simply be impossible. This will usually be
deemed as incidental music. However,
it is best to be aware that this is a Permission
complicated legal area and if in any doubt It is essential that the producer
stop filming or get legal advice before collect signed permission forms
from all contributors. Failure to do
you start. Should something slip through so will mean that any footage shot
the net, expensive post-production costs will be useless.
may be incurred requiring the blurring of
faces or logos etc. Avoid this by heading
off problems before they arise.

Starting point/tips

Things to remember when preparing · TV programmes: as for video

to film: and computer games
· Ring tones on mobile phones: · Logos on clothing and hats – approve
turn off all phones in advance what people are wearing,
Producing documentary

· Video and computer games: or get them to change

make sure the camera is not · Logos on products – avoid them in shot
pointing at the screen
 88–89

± Release forms There will be situations where it is

difficult to get permission of individuals
• PERMISSION
en masse – such as in a crowded place
• PERMISSION!
like a park or a nightclub. The way round
• PERMISSION!!
this is to put up signs indicating that
The producer should always ensure filming will be taking place, and that if
that release forms are signed wherever people do not wish to be shown they need
possible before the shooting begins. to tell a member of the crew. The sign
Persuading contributors to sign forms should be filmed at the same time.
after the shoot can be a nightmare. An
unsigned form means that the footage
cannot be used.

Pre-production > Production > Post-production

Public spaces
The producer must check the rights
to shoot on location. Even in public
spaces, consent to film still has to be
given. This is the case for Greenwich
Park, London where consent has to
be granted by The Royal Parks.
 Production

± Vox pops ± Location agreements

Vox pops (Latin for ‘voice of the The producer must ensure that any
people’) are unrehearsed interviews or access or location agreements are
expressions of opinions that take place negotiated and signed, ideally before
in public places. They are intended to the shoot starts.
give a feeling of spontaneity. Children
will need the written permission of their
parents or guardians.

Locations
Filming for a programme can take
place in a range of locations.
Producing documentary
 90–91

Location Release Form

(Name) _______________________________ [“Owner/Representative”]

(Telephone) _______________ (Address)
________________________________________________________________________

Owner hereby grants to CSI Sports / BT (“Company/Producer”) and its respective parents, subsidiaries
and affiliates, licensees, successors and assigns, for good and valuable consideration, receipt of which is
hereby acknowledged, permission to enter upon and use the property and the contents thereof and the
appurtenances thereto located at _________________________________ (the “Property”) for the purpose
of photographing and recording certain scenes in connection with a programme tentatively titled
____________________________ (the “Program”). All physical embodiments of filming, recording and
photography on the Property shall hereinafter be known as the “Materials”.

Company and/or Producer may place all necessary facilities and equipment on the Property and agree to
remove same after completion of work and leave the property in as good of condition as when received.

Company and/or Producer will use reasonable care to prevent damage to said Property, and will indemnify
the owner, and all other parties lawfully in possession of said Property, and hold each of them harmless
from any claims and demands of any person or persons arising out of or based upon personal injuries, death
or property damage suffered by such person or persons resulting directly from any act of negligence on
Producer and/or Company’s part in connection with Producer and/or Company’s used of the Property.

Owner grants to Producer and/or Company all rights of every kind in and to the Materials including without
limitation the right to exploit the Materials throughout the world, an unlimited number of times, in
perpetuity in any and all media, now known or hereafter Invented, and in connection with the Programme,
Company or otherwise and for advertising and promotional purposes in connection therewith and all rights,
including copyright in the Materials shall be and remain vested in Producer and/or Company, and neither
the Owner, nor any tenant, nor other party now or hereafter having an interest in the Property, shall have
any right of action against Producer and/or Company or any other party arising out of any use of said
Materials whether or not such use is, or may be claimed to be, defamatory, untrue or censorable in nature.

The undersigned acknowledges that Producer and/or Company is photographing and recording such scenes
in express reliance upon the foregoing. The undersigned represents and warrants that the undersigned has
all rights and authority to enter into this agreement and to grant the rights granted hereunder.

Producer and/or Company are not obliged to actually use the Property or produce the Programme or
include the Materials in the Programme for which it was shot or otherwise.

This is the entire agreement. No other authorisation is necessary to enable Producer and/or Company to use
the Property for the purpose herein contemplated.

AGREED AND ACCEPTED

BY ______________________________________
Pre-production > Production > Post-production

DATE ____________________________________

Location release form

All location release forms must be
organised and signed before filming
takes place.
 Post-production

Once the footage has been shot, the
project will go into post-production or
the editing stage.
Often in the case of documentary film-
making many hours of footage will have
been shot. These tapes will have to be
logged and then digitised before editing
the programme can begin.
± Delivery, exhibition and publicity
Once the editing of the documentary is
finished and master tapes have been
made, the project enters the final stage
of the production process. There are still
aspects of the production that have to
be dealt with, including making publicity
copies on DVD.

The role of the producer during As well as dealing with this the producer
post-production will vary with each will also be tying up loose ends and
production. Some projects will have closing down the production office/base.
several key members of the production
For further information on funding,
team – a producer, a director, an editor
distributing and screening
or a combination of these, sitting down
documentaries see:
to view rushes. At other times the editor
www.britdoc.org,
alone will view the raw material in order
www.channel4.com/fourdocs,
to get a feel for the project. He or she
www.edn.dk and
may cut rough sequences together
www.mipdoc.com.
before showing the producer or director.
There are many ways to tell stories and
many ways to approach a production.

Once the film has been edited the next

stage of post-production will be the sound
dub. Here the voice-over (V/O) will have
been written, recorded and added to the
soundtrack.

Professional tips

Post-production paperwork includes:

· Logging sheets
· Commentary scripts
· Final scripts/programme as
completed transcripts from
Producing documentary

the script
· Music cue sheets
· Final collating of licences, Editing
permissions and contracts ready The post-production or editing stage
for delivery occurs when all of the footage is
viewed and sequences cut together
· Final budget costing to produce the final programme.
 92–93

Production > Post-production > Case study: The producer/director

 Case study: The producer/director

± James Dawson What other types of producer do you

work with?
James Dawson is an award-winning
documentary film-maker who has worked In TV ‘producer’ is a very broad term.
for the last 15 years for all the major UK Mainly it means the person responsible
terrestrial channels, including the BBC for making sure that a production is
and Channel 4. delivered to the broadcaster. They work
with directors who are responsible for
What do you do? the editorial direction of the programme.
I am a producer/director so combine
I’m a producer/director. I work on a
both jobs. Producers tend to be in the
variety of factual programmes, but mainly
background making sure the budget isn’t
documentaries. I’ve made films about
blown and that the whole thing doesn’t
the NHS, overweight children, fishermen
come off the rails. However, in some
and strange phobias. I shoot a lot of the
areas of factual TV a series producer
programmes I make myself so am also
has a lot of editorial input and often will
called a Shooting Producer Director.
intervene in editing and in the planning
I started out as a camera assistant
of productions at every stage. How you
working on pop videos and dramas.
define a producer generally depends on
I came up with an idea for a documentary
what area of TV you are working in.
and sent it in to Channel 4, who
commissioned it. Realising that I enjoyed
Can you talk more abut the programmes
making documentaries I sent some more
you work on, how they get funded and
ideas to an independent production
your role as producer?
company in London and they gave me
some work as a researcher. Most of the programmes I have worked
on are made by the independent sector
Who are the other members of the for broadcasters. They come up with
production team? ideas and pitch them to broadcasters
who decide to commission them. Once
Most of my work takes place with just
they’ve agreed what they want they start
one or two people. Either I work with
the process of making the programmes,
a camera operator, sound recordist
employing people like me to make them.
and an assistant producer, or I use the
I work with researchers to find the stories
camera and have a sound recordist and
to film. Normally the broadcaster funds
assistant producer. The smallest unit is
the programme entirely and buys the
just me and an assistant producer who
right to show it several times on British
does the sound recording. Normally
TV and abroad. Nowadays independent
the production company will have a
production companies retain some of
production manager overseeing the
Producing documentary

the rights to the programmes they make.

budget, booking hotels, flights, etc.
This has meant a whole new stream of
Working as my boss will be either a series
revenue to independents, which has
producer, overseeing the delivery of a
turned some into large scale businesses.
series, or an executive producer if it’s a
smaller-scale production.

‘IN MY JOB YOU NEED A
GOOD SENSE OF WHAT A
STORY IS AND HOW IT CAN
BE TOLD.’
What are the most important skills
needed for your job?
In my job you need a good sense of
what a story is and how it can be told;
be able to think how you are going to
film something, be good at thinking in
pictures and in ways of telling the story
which bring out its drama. You also need
to be able to manage your team and the
contributors you’re filming, and you need
to be able to translate all this material
into an edited programme. The last part
is the skill that’s hardest to learn.
What is a typical week for you? Is there a
typical week?
Depends on whether I am researching,
filming or editing. The joy of the work is
that it is varied. You can be all over the
place doing different things from one
week to the next. Generally much of
the research is office based combined
with visiting locations and possible
contributors. The filming is on location
and the editing is somewhere normally
where the production company is based.
94–95
What can go wrong?
Lots can go wrong. You’re dealing with
people and they’re unpredictable. That
said you are normally following a real
situation and as long as you anticipate
things going wrong it’s OK. You have to
be able to make the most of a filming
situation as it doesn’t always turn out
how you hope or anticipate it will.
Any tips for documentary film-makers?
Think about how your film will start. List the
images you envisage. Think about how the
film might end – it’s easy to assume that
Post-production > Case study: The producer/director
it will have a natural end, but if you think
about it then you can do some planning.
An old producer once said keep things
‘tight and loose’. Be well organised and
prepared to the point where everything is
anticipated and prepared for; then when
you are filming you’ll be able to follow
whatever you want spontaneously.
 96–97

PRODUCING DRAMA

We’ve looked at the starting points for producing

documentary, now we’ll move on to explore the issues
involved in drama production. As in the previous
chapter we will focus on the key information needed by
an inexperienced producer, and outline a producer’s
responsibilities, alongside industry roles and procedures.

There will be points in this chapter where areas of

production advice may feel familiar, as they have
been discussed earlier in the book. This repetition is
intentional to drive home the core production skills
needed by a producer across all types of projects.

Making drama is tough and challenging. With little

or no money, it takes a passionate and committed
producer to put the story successfully on the screen.

Producing documentary > Producing drama > Producing magazine shows

Drama production
Making a drama production,
often with little or no money, is a
challenging process. Nonetheless,
it is a very rewarding one for the
committed producer.
 Producer greats: Matthew Weiner
Producing drama
 98–99

± Mad Men, 2007

Synopsis

Mad Men is an American television

drama series set in New York. It takes
place during the 1960s in the fictional
Sterling Cooper advertising agency.
It centres around the high-flying
advertising executive, Don Draper, as
well as the people in his life both inside
and outside the agency. The series also
reflects the changing social conditions
of 1960s America.

Matthew Weiner

Matthew Weiner is a producer,

screenwriter and director who has
won several awards for his work on
productions including The Sopranos,
The Naked Truth and Becker. Weiner
acted as show runner, executive
producer, and head writer of Mad Men
for its first season.

Producer greats: Matthew Weiner > The team

 The team
Filming even the humblest, lowest-
budget drama can involve managing a
small army of people. In comparison
to most documentary production, the
drama producer will need to organise and
manage a significantly larger production
team and crew, as well as handling
complex technical considerations. Once
writers, agents, actors and composers
are factored in, the drama producer’s job
is complex and layered.
PRODUCER
Has overall business
(budget, contracts),
creative (script editing)
and quality management
responsibility for the
programme. He or she
controls the budget and
hires the key creative
members, such as the
director, art director and
editor of the production
team.
ASSOCIATE PRODUCER
Will work under the
guidance of the producer.
Producing drama
EXECUTIVE PRODUCER
May oversee several
productions at one time.
The opening and closing credits of a
drama highlight this complexity, as
many productions often include several
different producer titles. Some of these
titles are more likely to be found in
feature films than lower-budget digital
productions.
Below are some of the key roles:
CO-PRODUCER
Can be a producer from a
partner in the funding of
the project.
LINE PRODUCER
Normally found on feature-
length film production.
Employed during production
to keep the project on
budget.
DEVELOPMENT PRODUCER
Nurtures and develops a
project with a writer,
and pitch for funding. A
development producer will
be continually looking
for new talent and ideas,
reading scripts by new
writers, searching out
up-and-coming actors and
watching short films by
new directors.

± Production crew
In addition to the various categories of
producer, a typical drama will need a
production team and crew dedicated to
delivering a range of technical and creative
skills. A big-budget feature film will have
an extensive number of people involved in
translating a script into a screen feature,
but even a modest production will have
a significant number of people involved
throughout the production.
A basic guide of the production crew
and their roles is as follows:
DIRECTOR
Responsible for the
overall creative vision
and the performance of
the actors.
1ST ASSISTANT DIRECTOR
(1ST AD)
Works closely with the
director and the producer
to ensure the schedule
delivery and discipline
on-set. Manages all the
day-to-day production
practicalities, allowing
the director to concentrate
on his or her job.
Responsibilities include
producing shooting
schedules, keeping the cast
moving and supervising the
2nd and 3rd ADs.
100–101
2ND ASSISTANT DIRECTOR
(2ND AD)
Prepares call sheets from
the shooting schedule
and liaises with actors,
ensuring they are on-set
at the right place at the
right time.
3RD ASSISTANT DIRECTOR
(3RD AD)
Provides support to the
1st and 2nd ADs. He or
she coordinates extras,
is involved in crowd
control and may also be
responsible for security
on the set.
Producer greats: Matthew Weiner > The team > Development
SCRIPT SUPERVISOR OR
CONTINUITY SUPERVISOR
Responsible for continuity
and keeping track of
what has been shot so
that when the film comes
to be edited everything
makes sense. Polaroid or
digital images from each
scene may be taken for
reference.
 The team
± Camera department
Headed up by the director of
photography (DoP), this department
realises the director’s vision. The DoP
will be highly skilled, resourceful and
able to bring his or her own creative
input as to how a shot should look.
THE DIRECTOR OF
PHOTOGRAPHY (DOP)
Works closely and directly
with the director as it is
the DoP’s responsibility
to capture the director’s
vision. He or she will
make creative suggestions
regarding lighting and
camera angles, but in most
cases does not actually
handle the camera.
CAMERA OPERATOR
Answers to the DoP and
is responsible for the
working and handling of
the production cameras.
FOCUS PULLER
Makes sure the camera is
set-up with the correct
lens and that each image
Producing drama
is properly focused.
GRIP
Responsible for handling
most of the non-camera
equipment, including
dollies, camera platforms
and cranes.
GAFFER
Responsible for
leading the electrical
department. A DoP will
often choose the gaffer.
Responsibilities include
managing generators,
lighting trucks and
setting up the lights.
RIGGERS
Specialist equipment is
handled by specialist
roles, eg crane operators.
SOUND RECORDIST
Ensures that the sound
recording is consistent
and constant on-set. It
is his or her job to
anticipate and solve any
problems involving the
quality of the recorded
sound.
 102–103

± Art department

The art department is headed up by PROPS DEPARTMENT

the production designer. This role Provide and place all
is responsible for the creation and necessary props for the
execution of specific production ideas scene.
and designs. The art department may
include prop builders, scenic artists,
make-up and wardrobe.

Production designers create the designs SET DECORATOR

and drawings of the sets and locations.
After reading the script, they will meet Works under the production
with the director and present ideas for designer to build the sets
the overall look of the film. They will or to dress the location.
also liaise closely with the director of
photography (DoP).

As well as having to work with the DoP

and their team, the producer will also HAIR AND MAKE-UP
be closely involved with the production Get the actors ready for
designer and the art department, who filming and provide any
are responsible for the creation and touch-up needed during the
execution of specific production ideas shoot.
and designs. The production designer
will read the script and then meet the
director to present concepts for the
overall look of the film. Various members
of the art department then realise the ART DIRECTOR

Producer greats: Matthew Weiner > The team > Development

creative vision. Can be one and the same
person as the production
designer.

COSTUME DESIGNER
Designs and makes the
costumes. Alternatively
they choose the
characters’ wardrobe.
 The team

Producer

Director

Art director

Actors

Props Wardrobe

Set construction Continuity

Set dresser Hair/make-up

Production
assistants
Producing drama
 104–105

Director of
photography

Camera operator Gaffer Key grip

Best boy Best boy

1st Assistant grip
camera electrician

2nd Assistant 2nd electrician 2nd grip

Producer greats: Matthew Weiner > The team > Development

camera

1st Assistant
director Sound recordist

2nd Assistant
director Boom

Extras
 Development
A story or idea for a film may come from
a newspaper article, a book, a biography
or simply from the imagination. It is at
this early stage that the producer must
negotiate and secure relevant rights.
If the script or story already exists,
the producer must identify ownership
and acquire the rights to the material.
Depending on the project this can
involve approaching and negotiating
with a range of people including lawyers,
writer’s agents or publishers.
Some literary works are already in
the public domain because copyright
has expired and therefore can be
used without the worry of copyright
infringement. Much classic fiction tends
to be free of copyright. The bottom line
is that the producer will have to make
absolutely sure they can use a book,
story or script in the early stages of
development.
± Working with writers
Without the writer there is no script and
therefore no film. The first person the
producer will have to work with is the
scriptwriter. If the drama producer is the
catalyst for the idea, he or she will need
to find a writer to attach to the project
and to develop the idea.
Producing drama
For a project to be successful the
relationship between the writer and
producer is pivotal. Understanding how
the writer works, good communication
and creative collaboration will enable
the producer to nurture the story into a
viable script to pitch to funding sources.
When developing an idea with a writer,
an agreement needs to be formalised in
writing early on to avoid any disputes at
a later stage.
Writing a script is often a lengthy and
intense creative process. It may involve
in-depth research around a specialist
subject, as well as interviewing useful
contacts. There can be many drafts
before the final script is ready to be
filmed. Desperate to get their hands
on the camera and start shooting,
inexperienced film-makers can overlook
the attention to detail and time needed to
craft a strong script. Ultimately, the script
is the blueprint for the finished film.
As discussed in earlier chapters (see
Chapter 2: The Basics) copyright and
other rights issues can be complex.
The drama producer requires in-depth
knowledge or a budget to cover specialist
legal advice.
For further information see:
www.writersguild.org.uk, www.wga.org
and www.wgwast.org.
Treatment
The treatment is written in order to
convey the story and provide a feel
for the film’s mood and style.
Copyright: Momoko Abe
 106–107

ALL IN THE DANCE TREATMENT

PROLOGUE:
A GIRL (soft and long brown hair, white skin, aged early 20) in a pretty white summer dress is
walking through the lively Borough Market. She is listening to music on her iPod. The music leaks
slightly into the air. She is quietly humming to the music. We don’t see her face clearly, just her rosy
lips stretched sideways. The way she walks suggests that she must be heading to a date that she
has been looking forward to for sometime. She absorbs the lively noise of the market, the
appetizing sight and smell of food.

HARRY & SALLY:

The GIRL is now in the National Gallery, looking at paintings. She finds HARRY (early 20s, black,
slender) who is admiring the art next to her. There is SALLY (early 20s, Asian, brunette) on the
opposite side of the quiet room. She is also looking at paintings. They move slowly from painting to
painting. They are totally absorbed . The GIRL sees HARRY and SALLY bump into each other.
They gasp and freeze. Their eyes are fixed to the other’s eyes. The GIRL imagines that something
starts sparkling inside of them.

Shiny golden yellow light wraps around them. They dance with wonder, a chemistry. They turn, lift,
jump and feel dizzy. It’s inexplicable feeling. Quiet but strong… like silent fireworks.

The GIRL comes to her senses. Everything is back to normal. HARRY and SALLY quickly and
awkwardly turn their eyes away. GIRL sees that SALLY leave and HARRY watches her back as she
goes.

JIM & CATHERINE & JULES:

It is evening and there are many people out in Piccadilly Circus . They are like bugs swarming to the
bright neon signs. We find the GIRL chatting with a friend at the counter in a hip bar. The GIRL finds
CATHERINE (mid-20s, petite, short hair, pretty) who is sitting alone on a couch, apparently waiting
The team > Development > Pre-production

for someone. The next moment, JIM (mid-late 20s, handsome) appears with 2 glasses of red wine
in his hands. A charming smile is on his face. He sits down next to CATHERINE and puts his arm
around her shoulder without hesitation. While they are making out, another man runs into them. It’s
JULES (mid-late 20s, good-looking, stylish, unmistakably gay). He shows a genuine surprise to see
JIM with CATHERINE. JIM notices JULES and freezes and his face turns to white. CATHERINE
looks at JIM to JULES in confusion. The GIRL is watching those three in this awkward situation and
imagines…
1
 Development

EXT. BOROUGH MARKET. DAY. 1

A GIRL in a pretty white cotton summer dress is walking
through the lively Borough Market. We glimpse her through
the gap between the stalls. She is about 21-23 and has
pretty dolly face with soft and long blond and fair skin.
She walks with slight hasty steps. Her skirt lightly
flutters as she walks. She is listening to music on iPod.
The music is slightly leaking into the air. She is quietly
humming to the music. Her cheeks and lips are rosy and her
face is beaming with smiles. she doesn’t pay any attention
to either the lively noise of the market or the appetizing
sight and smell of food. She leaves the market.
INSERT:
A white text over black background: HARRY & SALLY

EXT. NATIONAL GALLERY. DAY. 2

The facade of the National Gallery where people come and go
and sit down. It’s nice and sunny day.

INT. GALLERY. DAY. 3

The GIRL is looking at a painting in a quiet room. She looks
impressed. She turns her head and notices HARRY (in early
20s, slim, in smart casual outfit) who is admiring another
painting next to her. He nods slowly at the painting. There
is SALLY (in early 20s, skinny) on the opposite side of the
room. She wears a belet and colourful T-shirt. She is also
looking at paintings keenly. HARRY and SALLY move slowly
from painting to painting. Their eyes are fixed to those
arts in front of them while walking. The GIRL watches those
two unconsciously get closer and closer and finally bump
into each other. They gasp and freeze. Their eyes are fixed
to the other’s eyes. The GIRL imagines that those two fall
in love with each other.
DANCE:
There are only HARRY and SALLY in the room. Shiny golden
yellow light wraps around them. They start dancing
Contemporary from the exactly same position where they
freeze. They dance with wonder for the inexplicable
chemistry. They turn, lift, jump to express the fizzy warm
inexplicable feeling. They finish in the exactly same
position as the beginning.

(CONTINUED)
Producing drama
 108–109

± Development of a script The proposal may contain all or some

of these elements:
There are several key stages to the
development of a script. These are • The log line: this is a summary of the
the basics: story in one or two lines and is the
hook to attract interest in the script
Treatment • The story outline and context of
the story
Before the script is drafted the writer
• Biographies/CVs of the writer,
must first create a treatment. This will
producer and director
tell the story and also give a feel for the
• Cast suggestion: a producer may
project’s mood and style. After pitching
indicate a famous actor is interested
and receiving a positive response, the
in the script/part. This can make the
producer and writer will then need to
project more viable and easier to
develop a draft script. The treatment
sell or distribute
should be seen as the first stage on the
• Indicative budget and top sheet:
journey of putting the script on to the
a preliminary financial summary.
screen.
Drafts
The proposal
Very few dramas will shoot the first
In some cases the producer may present
draft of a script. Often, the script will
a raft of ideas to a drama commissioner,
go through several rewrites before
which may be pitched verbally. If any
filming begins.
interest is expressed the ideas will then
be developed into a written proposal
or treatment. In other situations the
producer will present a written proposal.

The team > Development > Pre-production

Script
The script is developed from
the treatment (see page 107).
Copyright: Momoko Abe
 Development

± Script format A drama script layout follows the basic

Industry formats and standards exist that layout opposite. A rule of thumb is that
will help the producer draft and present a one page = one minute of screen time.
script. There are various layouts used for A Scene description
writing films, TV shows and plays. B Interior (indoors) or Exterior (outdoors)
Final Draft AV is designed for writing C Scene direction
scripts with a two-column format – D Character name
video column and audio column. It is E Scene number
suited to documentary and commercial F Point size 12, Courier font
production. For more information, visit: G Wide shot – only include camera
www.finaldraft.com. direction if absolutely necessary
H Dialogue

Final Draft
Final Draft is a useful scriptwriting
software for writing and formatting
a script to follow the standard layout
conventions. (www.finaldraft.com)

Smart Type
Remembers and automatically
fills in character names, scene
headings, transitions, locations
and more. All you need to do
is type the first few letters and
Smart Type will instantly type
in the rest.

Revisions
Easily handles multiple revisions,
setting off revised text with a
customizable color and margin
marks.

Pagination
Automatically formats and
paginates to industry standards.

Panels
Organizing and developing your story has never been easier.
The Panels System allows you to view your script, its outline
Producing drama

and index cards at the same time.

The Index Cards can contain both scene and summary notes
for a particular scene. The Outline Panel provides quick and
easy navigation through the script.
 110–111

TITLE SEQUENCE.
E
A
1 INT: HALLWAY: A PARTY. 1
D
Pressed close, a man and GIRL 1 laugh. STEVE rudely pushes
between them, moving on through a couple more party goers.

B 2 INT: C/U TABLE. 2

F A glass of wine is overfilled.

1a INT: HALLWAY: PARTY. 1a

STEVE continues to walk towards camera, he’s angry but

contained. He knocks into someone spilling their drink. He
doesn’t care.

3 INT: C/U BOTTLES IN PLASTIC TUB. 3

A bottle of beer is pulled from a tub filled with ice.

1b INT: HALLWAY: PARTY. 1b

C STEVE walks up to the kitchen door, which is shut. He
stops, calms himself, turns the handle and opens the door.

TITLE:
SUGAR
G
4 INT: KITCHEN: EARLY EVENING. LOCKED OFF CAMERA W/S. 4
THE ACTION MOVES IN AND OUT OF FRAME. CAMERA DOES
NOT MOVE AND THERE ARE NO C/A’S.

PETE, KRIS and MICKY are sitting drinking around the *

table. We hear the party, the people and the music
in the house off camera. STEVE barges through the
kitchen door and looks straight at MICKY.
*

He pulls up a chair and sits down, his arms crossed.

The team > Development > Pre-production

PETE
(laughing)
H No...I don't believe that.

MICKY *
it's true...it happened in Tokyo *
in the 1920’s - there was a *
terrible fire in a factory... *

Sugar
This page from the 10-minute short,
Sugar, is set in the conventional
layout for a drama script.
 Pre-production
Once the script has been approved or
‘green lit’, the project will go into pre-
production. This is the period when
much of the planning and preparation
needed to make the film happens. There
will be regular production meetings with
members of the team and crew, such
as the director, art director and script
supervisor, at various stages of the pre-
production period. The producer will also
be hiring the crew, securing locations
and contracting the actors.
Meanwhile, the director will be dealing
with other elements of pre-production,
such as scouting locations, carrying out
rehearsals with actors, having walk-
throughs with the various department
heads and creating storyboards.
Because a drama producer has to
deal with and keep track of so many
different elements he or she must be
extremely organised.
Producing drama
± Budget
Early on a preliminary budget will have
been produced in order to get the project
off the ground. Once the producer has
an idea of how long the project is going
to take and the director has indicated
what he or she wants, the producer is
in a good position to draw up a realistic
working budget.
The producer will need to cost every
creative intention of the director
and assess whether these can be
accommodated within the budget. The
producer must continually assess the
needs of the project and be able to use
the money that is available in as creative
a way as possible. An integral part of this
process is the script breakdown which is
covered later in this chapter.
The drama budget may have to cover
the following elements:
Above-the-line costs
These are costs that are earmarked
for the creative part of the production.
This is usually a flat fee and includes:
• Producer/producers
• Director
• Writer
• Cast
• Script or story rights.
 112–113

Below-the-line costs If you are lucky enough to have some

funding, you will need to consider
These cover all the technical costs to make
how much you can pay people within
the film. Below-the-line costs have to be
the limitations of your budget. A good
worked out on a weekly or daily basis.
starting point is to consider paying at
least a fair minimum wage.
Paying people
The reality is that producing films on a
On a no-budget or a student short,
limited budget means that every situation
the bottom line is to at least pay
is different and the producer will need
capped expenses, provide food during
to negotiate within the context of the
the shoot and a copy of the finished
production finance. In some cases the
film. To avoid any misunderstanding,
producer will need to be fully up to speed
the producer needs to negotiate with
on employment law and how it applies to
cast and crew early on, to make sure
the project. For more infomation, see:
everyone involved is clear about what
www.bectu.org.uk, www.equity.org.uk
is expected before filming starts.
and www.fia-actors.com.

Page 6

Acct No Description Amount Units X Curr Rate Subtotal Total

93520 OTHER LABOR 0
93521 LOCAL HIRE LABOR 0
93531 COSTUME HOUSE LABOR 0
93532 MANUFACTURE & ALTERATIONS 0
93533 FACILITIES 0
93534 CLEANING & DYEING 0
93551 EXPENDABLES 0
93553 PURCHASES - WRDB & FABRIC 0
93554 PURCHASES - OTHER ASSETS 0
93555 RENTALS - WARDROBE 0
93556 RENTALS - EQUIPMENT 0
93561 LOSS, DAMAGE & REPAIRS 0

Development > Pre-production > Production/principal photography

93563 BOX RENTALS 0
93565 CAR ALLOWANCE 0
93570 OTHER CHARGES 0
Account Total for 935 0

937 MAKE-UP AND HAIR

93701 MAKE-UP ARTIST 0
93702 ADDITIONAL MAKE-UP 0
93703 BODY MAKE-UP 0
93705 HAIRSTYLIST 0
93706 ADDITIONAL HAIRSTYLIST 0
93731 HAIRPIECES & APPLIANCES 0
93751 EXPENDABLES 0
93753 PURCHASES 0
93755 RENTALS 0
93763 BOX RENTALS 0
93770 OTHER CHARGES 0
Account Total for 937 0

939 SPECIAL EFFECTS

93901 EFFECTS KEYPERSON 0
93902 EFFECTS PEOPLE 0
93920 OTHER LABOR 0
93924 RIGGING 0
93925 STRIKING 0
93951 EXPENDABLES 0
93953 PURCHASES 0
93955 RENTALS 0
93961
93963
LOSS, DAMAGE & REPAIRS
BOX RENTAL
0
0
Budget
93965 CAR / TRUCK ALLOWANCE 0
The costs attached to the production
93970 OTHER CHARGES 0
Account Total for 939 0 should be worked out on a weekly or
941 SET OPERATIONS daily basis. At the top of each page
94101
94102
STANDBY PAINTER
STANDBY LABOR - STUDIO
0
0
will be the following headings:
94103 CRAFT SERVICE PERSON 0 Amount (days or weeks)
94104 FIRST AID PERSON 0
Units (how many days or weeks is
The Entertainment Partners Services Group, EP Budgeting
the equipment or person hired for?)
Rate (the daily or weekly cost of the
person or equipment hire).
 Pre-production

± Student drama ± Technical equipment

Producing a short drama with little There is a vast range of equipment

money, limited access to equipment and available to the production team and
complex availability of cast and crew is choices will need to be made. Camera
the world of the student producer. hire companies provide these services.
The use of specialist equipment will
The following identifies the key areas a
invariably mean extra crew and additional
student producer will need to consider
expense. You will need to check with the
when budgeting for a production:
hire company what insurance cover will
• Camera, sound and lighting equipment be needed. For further information, see:
• Cast and crew www.theknowledgeonline.com.
• Post-production and any transfers
• Tapes/stock ± Location
• Art department
Location choice can affect the schedule
• Catering/food
as well as the budget. So remember,
• Location fees
appropriate access will need to be
• Transport and travel
negotiated and confirmed. Shooting
• Hiring of any specialist equipment
in the winter when it’s cold, wet and
that cannot be provided by the
daylight hours are restricted may mean
college or university
less exterior shooting time and may
• Additional insurance
also mean that the crew need more
• Office or running costs, such as
food and drink. Other issues to consider
copying, telephone and postage
include access to adequate facilities,
• Publicity costs – this will cover DVD
such as electricity, as well as the need to
copies, film-festival entry fees and
consider health and safety.
publicity packs.

A drama budget can be complex. When ± Cast

a producer is costing different elements
The cast will need to be kept warm and
there may be various issues which
dry when not filming on-set. The bigger
arise that can affect the budget and/or
the cast, the more time and expense
schedule.
required to prepare, rehearse and move
equipment. The more people involved in a
scene, the more time it will take to shoot.

Working with children brings its own set

of issues as discussed in Chapter Two:
The Basics.
Producing drama
 114–115

Equipment hire
Camera hire companies will be able
to supply the equipment and services
required for a shoot.

Development > Pre-production > Production/principal photography

Starting point/tips

Factors that can influence the budget

and the schedule:
· Set building
· Set dressing
· Art direction
· Special effects, such as wind/rain
machines
· Stunts
· Choreography
· Costumes
· Special props
 Pre-production
± Script breakdown
As well as preparing and managing
the budget, the producer will be
overseeing the script breakdown. A
script breakdown is an analysis of all the
components involved in all the scenes
in the script. It will list locations, props,
actors, extras, costumes and any special
effects. This enables the producer to cost
every item in the film and to work out the
most effective shooting schedule.
The breakdown can be used to organise
the location shoots. Identifying
individual scenes for specific locations
will help to estimate the time needed to
complete the production and to create
a shooting schedule.
Most films shoot out of script order as
it is cost- and time-effective to group
and shoot all the scenes that take place
in a specific location. This is obviously
preferable to shooting one scene in a
location, and then having to move the
crew, cast and equipment to another
location, only to return to the original
location for the next scene within the
same day.
Obviously a feature-length film shot
over several weeks or months will have
a far more complicated breakdown and
production boards than a short film.
Producing drama
± Casting and finding actors
Finding the right actors for the project
is crucial to the film and can often be
integral to the funding and financiers.
For a fee, professional drama producers
bring on board casting directors who are
knowledgeable about up-and-coming
actors and have good relationships with
agents. The producer will need to organise
and manage this process and often
provides creative support to the director
throughout the decision-making process.
As a producer you will have to organise
advertising the roles, setting up casting
calls, auditions and any call backs. The
starting point is to draw up an advert,
which will need to include the following:
• Information about the role
– including age and any key physical
characteristics
• A synopsis of the story, dates/location
for the shoot, format and running length.
• Full contact details for the production
team or company
• Audition dates and details
• Any payment details if relevant.
Places to find actors
Places for find actors include:
• www.shootingpeople.com
• www.talentcircle.com
• www.pcrnewsletter.com
Remember, while some have open access,
others will require a membership fee.
 116–117

Script Breakdown Sheet

Date_______________

_________________ __________________ ___________________

Production Company Production Title/No Breakdown Page No

_________________ __________________ ___________________

Scene No Scene Name Int/Ext: Interior or Exterior.

____________________________________________ ___________________
Description: One line of description of what happens in the scene. Day/Night:
As indicated on the script.

____________________________________________ ___________________
Page Count: Pages are divided into ‘ 1 8ths’ or eight sections.
This is NOT the page number the score is on.

Cast: Stunts: A fight or fall, for Extras:

Anyone with a speaking role. example. These should be Non-speaking members of the cast
performed by trained experts. who fill the scene.

Extras/Silent Bits

Special Effects: Props: Vehicles/Animals:

Fireworks or firearms, for example. Any props handled by the For example, a car that a character
character, as indicated in the drives in a shot.
script.

Wardrobe: Make-up/Hair: Sound Effects/Music Development > Pre-production > Production/principal photography
Special costumes or wardrobe Any special make-up, such as
details. wounds or materials to age
character.

Script breakdown sheet

The script breakdown provides
details of all of the components
involved in each scene of the script.
 Pre-production
± Shooting schedule
Another key part of planning a shoot is
the preparation of the shooting schedule.
This outlines the order that the scenes
in the script are going to be shot,
maximising time, money and resources.
Once the script has been broken down
and transferred to the production
board, the schedule can be created.
The producer’s starting point is to build
the schedule around key or fixed dates.
These might be:
• Availability of the key actors
(they may have other filming
commitments that they are
already contracted to)
• Availability of key locations
• Any night shoots
• Union regulations on length
of days/night shoots
• Any special effects
• Any stunts.
Professional tips
Producer pre-production checklist:
· Organise crew and contracts
· Set up an insurance package
· Set up auditions and rehearsals
· Negotiate actors’ contracts
· Research post-production facilities
· Research and finalise locations.
· Ensure licences and contracts
are signed and relevant security
arrangements are in place
· Organise transportation
· Negotiate cast contracts
· Oversee and distribute relevant
Producing drama
paperwork – eg call sheets
· Organise stock
· Organise catering
· Oversee risk assessments
Remember, as mentioned earlier, when
working out a shooting schedule it is a
good idea to identify the locations and then
group all the scenes that take place in the
location together. Plan to shoot exteriors
first then move inside to interiors.
Work out the length of each working day.
A 10-hour day with breaks is an average
shooting day.
Try to work out what can be shot in a
day. Aim to shoot around two pages per
day. However, half a page of complicated
action may take a day to shoot in itself.
In contrast, a dialogue scene between
two characters sitting at a table will tend
to take less time to shoot. The more
complicated the scene, the longer it will
take to rehearse, set up and shoot.
It is possible to use scheduling and
budgeting software that links into
Final Draft. For more information, see
www.entertainmentpartners.com.
Starting point/tips
Points to consider when creating
a shooting schedule:
· Every time the camera is moved
within a scene the lighting may need
to be changed
· Some film equipment is very heavy
to transport
· Lighting a large space is more
complex. Apart from needing more
lights you will need more time for
crew to set up and to clear up
· Start with an easy day. This is
especially beneficial for your actors
· Be realistic about what you can
achieve in a day
 118–119

Development > Pre-production > Production/principal photography

Continuity stills
Continuity stills are used in order
to record how a scene looks at the
beginning and end of a scene. These
can then be referred to if it needs to
be re-shot at a later date.
 Pre-production

± Risk assessment

Health and safety is paramount, as is the

producer’s responsibility to ensure all
relevant forms are filled in and signed off
for all locations. Chapter Two: The Basics
explores this area in greater detail.

Whilst every precaution has been taken by Octagon CSI and our
contractors to ensure that all camera positions etc are safe, you are
reminded that, under the Health & Safety At Work Act, section 7, it is a
general duty of all employees to take reasonable care for the Health &
Safety of themselves and of others who may be affected by their acts or
omissions. A list of identified hazards is attached and all staff should
observe precautions that have been taken to minimise them. Please report
any hazard to the Octagon CSI Production Manager or the OB Unit
Manager of the appointed facilities company. This is of particular
importance to anyone who is self employed.

HAZARD ASSESSMENT CHECK LIST

Highlight if applicable.

1. Blocked or Restricted Access / Egress

CO-OPERATION IN A SHARED WORKPLACE 2. Flying (Aircraft / Microlights / Balloons / Parachutes)
For compliance with the management of Health & Safety at 3. Work Animals
Regulations
4. Public / Crowds / Violence
Name & Address of Shared Workplace: 5. Hazardous Substances (Chemical / Poisons / Drugs / Micro-organisms)
6. Compressed Gas / Cryogenics
Phillip Island Circuit 7. Confined Spaces (Mines / Sewers / Caves / Fuel Tanks / Excavations)
RMB 500 GP, Cowes 8. Derelict Buildings / Asbestos
Victoria 3922 9. Diving Operations
Australia 10. Electricity or Gas (inc. LPG Heaters)
11. Special Visual Effects (Pyrotechnics / Explosives / Mechanical / Rain /
Snow / Smoke)
When one or more people share a workplace they must co-ordinate to comply with Health 12. Fire / Flammable Materials / Scalds / Burns
& Safety
13. Heat / Cold / Extreme Weather
Organisation Providing information: Organisation receiving14. information:
Special Needs (Inexperienced / Child / Elderly / Disabled)
Octagon CSI 15. Lasers / Stroboscopic effects
16. Machinery (Industrial cranes / hoists)
Occupation of shared workplace: 17. Noise
Racing Circuit 18. High sound levels
19.
Risks identified (in Health & Safety) from our activities which may affect your employees, Physical
together with / Abnormal stress
protective measures we have adopted.
20. Radiation
21. Scaffolds / Rostra
Identification of Hazard & Risks:
22. Stunts / Dangerous activities
See attached Risk Assessment form
23. Vehicles
24. Water / Proximity to water
Person responsible for Health & Safety co-ordination: 25. Weapons
Production Manager 26. Working at Heights
27. Night Operations
The person named below (Major Occupier) is responsible for28. notifying
Other: Specify
his/her employers of the risks we have identified
Fergus Cameron Check list completed by:
Date completed:
You are required to detail here any Risks that may affect our employees
arising from your companies activities:

Date:
Issued by: Production Manager

Risk assessment preparation

Producing drama

As part of the risk assessment

preparation, the producer will need
to list all possible hazards that may
present themselves during a shoot.
 120–121

RISK ASSESSMENT
Venue:

Event:

Date:

Hazard Hazard Effect HE P R Minimise Risk by Residual

HE x Probability + Risk Risk
Trip hazard Trailing cables M M M Fly cables were ever LOW
possible or use cable
ducts, cables at floor,
crossing public access
points should be matted
Working at Items or persons falling. H H H Harness used for persons LOW
Heights working at height. Drop
zone in place during rig
and de-rig of equipment.
Scaffolds / Rostra Items or persons falling H H H Scaffolds access to LOW
authorised persons only.
Drop zone used during
rig/de-rig. Toe boards
fitted to scaffold or rostra.
Vehicles Injury from collision with M M M Persons to be aware of LOW
moving vehicles vehicle movements
during period on site
Hoists Persons or equipment H H H Persons to wear LOW
falling from basket of approved harness when
hoist during rig / de-rig working in basket. Access
or operation. by approved personnel
only. Safety chains to be
used on equipment where
required. Drop zone
employed during rig / de-
rig.
Crowds Injury due to crush, in M M M Staff to be aware of all LOW
the case of emergency emergency exits available

Development > Pre-production > Production/principal photography

evacuation to them
Electricity Electric shock M M M Generators to be LOW
managed and supplied by
competent contractor. All
electrical equipment to be
tested and meet
appropriate local
standards.
High noise levels Temporary deafness M M M All staff to use suitable LOW
ear defenders or ear
plugs in areas of high
noise.

Assessment undertaken by: Production Manager

Date undertaken:

Risk assessment form

When all the assessing of risks has
been completed, a risk assessment
form is compiled, which identifies all
potential risks and the measures put
in place to prevent them.
 Production/principal photography

This is an intense and exhausting period ± Weather

when the production starts and the
When shooting exteriors, a change in the
pressure is exacting. During this stage
weather can have a catastrophic impact
of production there will be little time
on the shooting schedule and the budget.
to solve problems. Many issues and
The standard procedure is to shoot all
problems should have been anticipated
exteriors at a location first, then move
during pre-production, allowing for
inside for any interior scenes. Where
backup plans to be put into place. Where
possible plan to have an alternative interior
possible some flexibility should always
location in case it rains.
be built into the production schedule.
± Logistics
± The role of the producer during
production Check, check and check again that all
the arrangements are made. Parking,
During filming the producer must ensure
catering and equipment need to be
everyone is aware of what has to be
planned before the day of the shoot.
achieved during the shooting day. The
Inexperienced crews working under
producer does not normally have a role
pressure can present a potential health
on-set. The director literally calls the
and safety issue. The producer should
shots and the assistant director will keep
keep a close eye at all times and always
the film unit on course. The producer will
plan adequate rest and food breaks.
only get involved if the filming is starting
to seriously overrun the schedule or if
± Looking after actors and crew
difficult situations need troubleshooting.
The producer should not get involved
The basic role of the producer during
with directing the actors. However, the
production is to:
producer should ensure that morale is
kept high.
• Keep spirits and morale high
• Keep an eye on the budget Is it clear that the production is
• Keep to the shooting schedule providing catering? Some no- or low-
• Ensure all locations, transport and budget productions will ask cast and
catering is confirmed crew to provide their own food. However
• Ensure safety on-set limited the budget, the producer should
• Oversee equipment packages. Ensure endeavour to feed and water everyone.
relevant insurance documentation It shows respect for a hard-working
will be on hand. Return any unused cast and crew, as well as displaying a
equipment to the hire company professional attitude to the project.
• Ensure the set or location is cleared
and put back into its original condition.
• Make sure all rushes are clearly
Producing drama

labelled and stored securely.

 122–123

Logistics
Although the producer does not get

Pre-production > Production/principal photography > Post-production

involved in directing actors, it is his
or her responsibility to manage the
overall organisation and logistics of
crew and actors.
Courtesy of The Film Office

Starting point/tips

· Ensure the shooting day is · Complicated scenes will need more

keeping to the schedule and avoid time allocated to shooting them, such
wasting time and energy dwelling as tracking shots or crowd scenes
on a mistake or an issue · Make sure everyone knows their
· The producer’s job is to sort the responsibilities and ultimately who
problem out, move on and keep is in charge on-set
the crew and actors motivated
· Anticipate any problems – if
something can go wrong assume
it will so always have a plan B
 Post-production

Once the shoot is over the editing and The basic stages of editing are:
shaping of the story begins. At this
• Logging and digitising
stage the producer has to ensure that
• First assembly (getting the basic
the project is keeping to schedule and
structure of the film in order)
budget. This should become easier as the
• Rough cut
project enters the editing stage as there
• First cut
are simply fewer people involved.
• Fine cut
Editing is always a highly creative stage • Final cut.
in the production process and student
With projects shot on digital formats
film-makers can often overlook the
most of the sound editing will take place
importance of attention to detail. The
in the edit. Once the picture is cut the
editor and director should be obsessive
next stage is to go to a sound studio for
when it comes to both sound and vision.
track laying before for the final mix.
The producer should allocate adequate
time for the edit and dedicate sufficient
time to research, locate and manage all
aspects of post-production sound. The
editor will invariably need to watch all the
rushes, as they need to be familiar with
the material before editing starts.
Producing drama

± The role of the producer during
post-production
As with documentary production the
producer will tend not to be directly
involved in the early stage of the edit.
This is the domain of the director and
editor who will be working closely
together. The producer will be involved
at some stage of the edit, but his or her
primary role is to keep the project
on track.
The basic role of the producer during
post-production is to:
• Keep an eye on the schedule and
the budget
• Manage the marketing and
distribution of the finished
documentary, including organising
copies of the final film
• Ensure all clearances, especially
for any music tracks
• Organise a date for the sound mix
• Set a date for final delivery.
Starting point/tips
Inexperienced film-makers often
underestimate the amount of planning
and forward thinking needed during the
edit. Some golden rules to follow are:
· Ensure that all tapes are labelled
and kept securely in one place and
that they are accessible to relevant
members of the production team
124–125
± Marketing and distribution
Ensuring the film is seen by as many
people as possible is vital for the
film-maker. Without the backing of
a distributor or an organisation, the
cash-strapped producer will have to find
effective ways to publicise the film.
Cast and crew screening are a useful
way to finish off a successful production
and say thank you to all involved. The
inventive producer looking to fund
the next film may also try to set up
a screening for industry people and
financiers. Film festivals and the Internet
open up further screening, distribution
and marketing possibilities.
For further information on exhibition
and distribution, see Chapter Two:
Production/principal photography > Post-production > Case study: The creative producer
The Basics, and the following websites:
www.lux.org.uk, www.eurofest.org and
www.bfi.org.uk.
· Check and check again that the final edit
is in sync and the sound levels are correct
· Research music in advance
· Log rushes clearly
· Allow plenty of time for track laying
and sound design
 Case study: The creative producer

± Amanda Jenks Can you talk about developing ideas

Before entering the world of drama
production, Amanda Jenks worked
extensively as a producer and series
producer on major factual/documentary
series filmed in the USA and UK for
Channel 4, the BBC and other major
broadcasters. As a drama producer she
nurtures award-winning projects from
development through to screening.
Can you tell me who you are and what
you do?
I would describe myself as a creative
producer. I tend to create projects from
the initial idea, or a writer will come to me
with an initial idea. I will either work with
the writer or attach a writer to an idea of
mine and then see the project through
from the initial treatment, pitching it to
the channel, commissioning the script,
hiring the crew, right through to post-
production and delivery.
from true stories?
True stories obviously bring an enormous
responsibility as you are dealing with
real people, so in order to tell a story
you have to be true to the facts. Even
though you are telling a story you have
to make sure that you are being fair to
the characters and the people involved.
I, for instance, would never make a story
without getting people involved and on
board. I absolutely seek permissions;
you have to make sure that you legally tie
[up] that relationship with them, [in the
form of] some sort of permission type
contract, which again is project specific.
I think that what people tend to forget is
there is an enormous duty of care after
a piece is finished and has been aired.
You certainly have to make sure that you
carry on that relationship in some shape
or form afterwards, and that you make
the ones portrayed in the drama have all
the support and help to get through.

Tell me about the relationship between

What makes a great pitch?
the writer and producer.
The best pitch is always something that
I think a lot of the job as producer really
people get immediately; it is always
is to help people realise not only what
something that doesn’t need a lot of
I want but also their own voices. The
explanation. Having said that, there are
relationship between the producer and
some things that are more difficult to
the writer is project specific because no
grasp. For me I am quite lucky as I do
two people are ever the same. My job is
get to sit down with the commissioning
about creating a space and a dialogue
editors face to face. But having said
with the writer in which they can do
that, we increasingly have to send our
their best work. Different people need
pitches on paper via e-commissioning
different things from me. Some people
and I do think that tone is one of the
need an awful lot of meetings and call me
hardest things to achieve on a piece of
up in the middle of the night wanting to
paper. If it is funny then the pitch has to
discuss every single scene and nuance
Producing drama

be amusing; if it is a thriller the pitch has

of the script. Other people really need
to have suspense in it. The pitch pages
to bury themselves away, so I make sure
are difficult. I think it is one of the hardest
that everyone else leaves them alone
things about the whole process.
during their writing period.

‘MY JOB IS ABOUT
CREATING A SPACE AND
A DIALOGUE WITH THE
WRITER IN WHICH THEY
CAN DO THEIR BEST WORK.’
For the novice producer what is
a pitch page?
We are asked for different things.
Sometimes you can send a paragraph
and if they like it enough it can go into a
treatment or outline, which can be the
difference between four to six pages and
18 pages depending on what it is that you
are pitching. There is a big difference
between a single and a mini-series. For
a series, if they like the paragraph you
have written and they like the writer they
will ask you to come up with a series
bible and a first episode. A series bible is
how the whole thing is going to play out,
what story arcs are across the series,
what happens in each episode, how the
characters are going to develop, the
format of it. But if it is a single, I will often
get a response on a couple of lines and
I will work on no more than one side of
A4 with a writer, written in the tone of the
piece. The pitch is an indication of what
they will get if they give you the money;
it tries to excite them in some shape or
form. So you give enough away in a pitch
page, for people to want more.
126–127
Who else do you work with?
If we are to go into production, the
first person I would look to work with,
apart from the writer, is the director. I
usually employ the director knowing the sort
of look and vision they will want. Then there
is the delivery side – the line producers and
the accountants. As the producer I not only
have to achieve the creative vision but also
I have to worry about things like budgets
and deliveries, how things are going to be
done and how we are going to get the most
money on the screen.
Post-production > Case Study: The creative producer
Could you describe a typical week?
I rarely have a typical day or a typical week.
Right now I am just about to go on to prep
on a big show, so I have been interviewing
Heads of Department the last two days.
Another channel is interested in an initial
idea for something else, so I have had to go
to a meeting in-between. I am also getting
a second draft down for another piece
with another writer. You have to be a good
multi-skiller and juggler as a producer,
because in the course of any day you can
be dealing with many different people and
projects, which require you to think quickly
both practically and creatively.
 128–129

PRODUCING
MAGAZINE SHOWS
Breakfast TV, game shows, sitcoms, talk shows
and reality TV.

Today’s TV schedules are filled with a wide and

varied range of television programme formats. Types
of programming which have become the bedrock
of broadcast production. Tried and tested ways
of successfully delivering content that is not only
relatively cost efficient to produce, but can attract
sponsorship or advertising revenue.

The potential revenue for re-commissioned series

formats is huge, and creating a successful TV format
can be a highly lucrative way for a production company
to grow. The TV industry is hungry for new, fresh
ideas and speciality formats. These genres are in a
continuous state of flux and change.

Large audience ratings for a domestic hit TV show

can have potential for substantial international sales.
The rights to the format can be licensed to other
broadcasters. For example, versions of the reality show
Big Brother format are broadcast across the world
with especially made versions showing in the lucrative

Producing drama > Producing magazine shows > Learning curves

territories of Europe, North America and the Pacific.

This chapter will look broadly at types of programme

formats and industry procedures. It will consider the
basic skills needed to successfully manage a magazine
show, but will not deal with the highly specialised and
technical production skills necessary in live TV and
gallery production. That’s for another book.

Programme formats
There is now a wide and varied range
of television programme formats
available to the viewer.
 Producer greats: Various
Producing magazine shows
 130–131

± CNN Headline News

Synopsis

CNN (Cable News Network) is a major

US news cable television network. CNN
was the first station to provide 24-hour
news coverage.

Various producers

Due to the fast-paced nature of news

reporting, CNN Headline News has many
producers who oversee teams of people
working on a rolling schedule. This allows
them to work quickly and to respond to
news stories.

Producer greats: Various > Types of TV format programmes

 Types of TV format programmes

Before looking in more detail at magazine Music programmes

show production it is important we first
This is a continually evolving format taking
consider the basic range of programme
in live performance, chat, music video and
formats currently being offered by
pre-recorded video feature material.
production companies and broadcasters.
Formats offer a range of packaged
Game shows
content from hard news to reality shows.
These types of programmes tend to These are programmes such as Britain’s
follow conventions both in structure Got Talent, The Weakest Link, Wheel of
and presentation of the content. Fortune and Jeopardy!

New formats tend to be tested in the form

of a pilot programme. This will establish
a clear indication of style, content and
identify possible participants. The pilot
may then be broadcast to allow the
broadcaster to receive detailed feedback.
This will identify whether an audience
exists for the project without the need for
investing large sums of money.
The different types of TV format
programmes include:
Chat shows
These tend to be presented by a
well-known TV personality and are
usually set in a studio-based location.
Quiz show and panel discussion shows
are given a similar treatment.
Sports programmes
These can be delivered in multiple formats
– from live games to magazine shows.
Producing magazine shows
Reality TV shows
These include shows such as Big
Brother, which is produced and
broadcast worldwide, and Age of Love.
News and current affairs
These are studio-based programmes
generally presented by one or two
newscasters. They contain pre-recorded
stories (VT), live interviews in a studio
or on screen and live/recorded
transmission from reporters on location.
News production is fast paced and
highly pressurised. The producers
obviously needs to respond quickly to
changing events.
For more information, visit:
www.ukgameshows.com,
www.broadcastnow.co.uk and
www.tv.cream.org.
 132–133

Producer greats: Various > Types of TV format programmes > What is a magazine show?
Big Brother 2007
An example of a reality TV
programme format with a
global audience.
 What is a magazine show?

Magazine shows are constructed from
features linked by in-vision presenters,
or out-of-vision voice-over. Similar in
concept to the printed magazine, they
offer a range of items packaged within
a single programme.
This type of programme may contain
a range of content including news,
documentary, drama, interviews,
graphics and archive footage.
Producing magazine shows
They often involve several members of
a production team working on various
items at any given time to tight budgets
and quick turnarounds. In order to
understand the roles involved in this type
of production, a typical working week in
the life of a magazine programme will be
considered later in the chapter.
 134–135

Preparing for a magazine show

Magazine shows often involve
several members of the production
team working closely together
on tight budgets and to tight
schedules. There is a lot of work
involved, and it can be very stressful
at times.

Types of TV format programmes > What is a magazine show? > The team
 The team

Magazine programme production can Alongside assuming editorial

be highly pressurised. It relies on all
members of the team working closely
together against deadlines and budget
constraints. The producer needs to be
cool under the pressures of production
and must keep the team on course. It
is his or her job to organise the team,
decide programme structure and ensure
that all the members of the team are
delivering on their allocated tasks. With
fixed transmission times the programme
has to be made come rain or shine.
responsibility, the producer also needs
to ensure that the production schedule
stays on course. Liaising closely with the
production manager, crews need to be
hired, editors and edit suites assigned
and satellite links or dubbing booked.
All the ongoing issues discussed in
Chapter Two: The Basics, such as
copyright clearances, permissions and
associated ethical issues are of course
an integral part of the mix.

EXECUTIVE PRODUCER
ASSISTANT PRODUCERS (APs)
Most programmes will have
a team of APs who will
produce individual edited
A PRODUCER OR PRODUCERS
stories or features.
Depending on the nature
of the programme. For
instance, a daily news
programme will require
PA
several producers working
Producing magazine shows

on a rota, each dedicated Works as part of the team

to particular days of to coordinate scripts,
production. meetings and ad hoc
production business.
 136–137

Filming
The resulting shots from the day’s
filming will be cut by the editors,
who work closely with the producer
and APs.

RESEARCHERS
There may be several
researchers working on
a programme. They are
assigned the role of
identifying possible leads
or stories and collating
background information.
What is a magazine show? > The team > The production schedule
PRODUCTION MANAGER
Works closely with the
producers overseeing
budgets, schedules etc.
EDITORS
There may be multiple
editors working with the
assistant producers and
the producer, editing
material on a daily basis.
 The production schedule

The primary responsibilities of the ± The production meeting

producer are to keep the project to
The key event at the beginning of a
the production schedule and on budget,
production week is the production
and ensure that the overall mood, tone
meeting. These meetings are a vital
and visual style of the programming
part of the production process. They
is maintained for reasons of editorial
allow problems to be aired, the sharing
consistency.
of information to take place and enable
forward planning. It is at this stage that
tasks are agreed and allocated. Useful
for team building and cohesion, these
meetings also ensure that content,
editorial style and presentation is
debated and evolved.

The production board

Through the use of a production
board, all of the day-to-day
programme details can be seen
at a glance.
Producing magazine shows

± The production whiteboard
This is a useful way to display elements
of the production schedule so that they
may be understood at a glance. It can
show programme running orders, shoot
days, edit days and how these differing
elements mesh together. It can also
give an indication of required running
lengths and deadlines. Essentially, all
production staff can see what’s coming
and what’s planned.
± Research
Ideas for the features will usually be
pitched by the APs or researchers. These
will be discussed in the production meeting included. Also graphics and technical
and the go ahead given by the producer for costs, such as satellite feeds, will all
further development and research.
Depending on the subject matter there
will be a variety of strategies adopted to
identify and contact contributors. This
can involve researching news and current
affairs stories, placing ads in the papers,
or perhaps using stringers or production
team contacts in the field. The longer a
programme is in production, the longer
the contact list.
Professional tips
The producer’s responsibilities include:
· Editorial overview of the
content and presentation
of the programming
· Liaising with the production
manager to ensure that the budget
is staying on track
138–139
± Budget
Magazine programming will have an
overall budget, which will need to be spent
over a number of programmes, whether it
is a six-part series or a weekly programme
that airs every week of the year.
The producer and the production
manager will need to work out
a feasible working budget per
programme. As in the case of drama or
documentary production, the budget
will need to cover the differing stages
of production. Additionally, costings
for talent, whether it be an in-vision
presenter or a voice-over, need to be
need to be allocated funding.
± Presenter/talent
Magazine programmes usually
require presenters relevant to the
type of programme being produced.
For example, a well-known sporting
personality or journalist will generally
feature on a football programme. The
producer will therefore need to identify,
very early on in the programme’s
development, who needs to be attached
to the project. This may involve
The team > The production schedule > Production
negotiating with agents or organising
casting sessions to find a new face.
· Creative decision making about the visual
style and graphic look of the programmes
(essentially the blueprint for how the show
will look, ensuring consistency over the
features)
 Production

A feature of this type of programme ± Presenter

making is that, once the project is
The role of the in-vision presenter or
up and running, it is in a continual
voice-over is to give editorial cohesion
production cycle of pre-production,
to the programme and to provide links
production and post-production. The
between the different features. This part
producer has to make sure all the
of the production can take place in a
elements are running smoothly, has to
sound studio, TV studio or on location,
keep an eye on the programme coming
depending on the style of the programme.
up, as well as carrying out ongoing
Scripts will need to have been written and
research. There will also be a pool of
edited by the producer prior to filming or
pre-cut material ready to be slotted
sound recording with the presenter.
into a programme in case anticipated
projects fall through.
± Graphics
± Shooting the features The graphics element of a programme
will include title and end credit
With editorial guidance coming from the
sequences and stings. These will have
producer, the key people at this stage
been designed and prepared well in
are the assistant producers (APs) and
advance of the first ever transmission.
researchers. They will have researched
Other graphics will be created on a
the story, found the contributors and
weekly basis in response to programme
identified suitable filming locations
content, such as straplines and pages
before shooting the feature. The producer
with information. Often with music,
will be keen to maximise cost savings,
graphics give the programme a strong
encouraging the APs to shoot material
visual identity and branding within the
for use in other stories planned for
market place.
subsequent weeks. This helps establish
a pool of material ready for cutting for
future programmes at short notice.

Running glossary

· Sting a very short visual used

Producing magazine shows

between features or other items

· Straplines also known as lower
thirds, these provide information
that is placed towards the bottom
of the screen, usually to identify
interviewees

Studio shoot
There can be a large production
team involved in the actual shooting
of a show.
Professional tips
The producer’s responsibilities include:
· Deciding the running order of the
programme
· Editorial control of the stories and
how they are to be shot
· Drafting the graphics list
140–141
Autocue
The autocue is a computerised
prompting system that allows the
presenter to read the script while
presenting into the camera.
The production schedule > Production > Post-production
· Ongoing budget consideration, anticipating
any over-spends and allocating funds to
music and archive clearance
· Drafting the script
· Establishing running times
· Overseeing any archive and music
clearance
 Post-production

In magazine programme making there ± The stitch

are two stages of post-production.
± Pre-cut features
This is the responsibility of the assistant
producers who shoot the stories. As
well as producing an outline paper edit
(feature running order) of the feature
and writing the script, they will have
logged and overseen the digitising of the
footage. They will sit with an editor and
shape the material into the finished piece
to an agreed running length for the final
programme stitch.
This is where the producer will bring all
the different elements together including
pre-cut features, titles kit and graphics,
cutting them together to create the
whole programme.
± Voice-over (V/O)
After the programme is edited together
the voice-over will be added.
± Versioning – delivery and transmission
These stages of the programme’s
production are considered in more detail
in the case study on the following pages.

Running glossary

· Stitch the final edit when all of the

Producing magazine shows

elements are cut together to make

the completed programme
· Pre-cut features shot and edited
short items ready for the stitch
· Titles kit package of materials,
The transmission suite clock
such as titles, stings and The transmission suite clock is vital
backgrounds when producing live shows.
 142–143

Production > Post-production > An example weekly magazine programme

 An example weekly magazine programme

This section will take a closer look at ± The production team

how a magazine programme is produced
• Executive producer
day-to-day. The following example is of a
• Producer
football show transmitted once a week,
• Production manager
52 weeks of the year. This demands an
• PA
extremely well organised schedule of
• Four assistant producers
production in a highly pressurised and
• One researcher
intense production environment.
• Editors (the editors have to cut five
features during the week ready for
± Background information
the final programme edit).
The programme is distributed to 150
broadcasters globally. Final programme edit

All elements, including the five features,

Transmission or TX details
graphics and any other material, is edited
Transmission in the UK takes place via or ‘stitched’ into the final programme. In
satellite every Monday at 7.30pm. addition to this, short edited packages
are produced for mobile telephone clips.
The running length (how long the
programme is on screen) will vary.
As there are multiple clients for the
programme, different versions with
alternative running times are produced,
primarily to cater for broadcasters’
differing commercial break times.
The running times are as follows:

• International version 26.00

(twenty-six minutes)
• UK terrestrial 24.30 (twenty-four
minutes and thirty seconds)
• UK satellite 23.30 (twenty-three
minutes and thirty seconds)
• Mobile clips 02.00 (two-minute edit
with editorialised commentary for
international distribution).
Producing magazine shows
 144–145

Post-production > An example weekly magazine programme > Case study: The executive producer

Studio shoot
Working on a magazine programme
often involves a large crew who work
as a tightly-knit team.
 An example weekly magazine programme

The running order

The running order of a weekly sports

magazine programme is as follows:

Feature

A D

B E
Producing magazine shows

C F
 146–147

Post-production > An example weekly magazine programme > Case study: The executive producer
G J

H K

A The countdown clock counting down

before the programme starts
B Opening title sequence
C First feature profiling a player
D A graphic indicating teams in a group
E Sting
F Feature on Argentina
G Indicates what is coming up
in the show
H Feature on kids football
I Feature on a manager
I J Interview with player plus strapline
K End credits
 An example weekly magazine programme

Day 1 (10–12pm) Days 1 (12pm onwards) – Day 5

The production meeting takes place on
the morning after the first transmission. All
the production team get together to watch
the latest programme. The team analyse
each feature and discuss ways to improve
the show.
They then move on to talk about the
features being cut for the upcoming week,
as well possible stories for programmes
in the following weeks. Stories will be
allocated to the assistant producers to
plan, shoot and script. The researcher
is assigned projects to research.
The production manager books crews,
edit suites, talent and manages clearances
and permissions.
After the production meeting is over, the
team go back to work making the following
week’s programme.
One feature a day will be cut by each
individual assistant producer. For the
rest of the week, they will be working on
their scripts, finding appropriate music
and archive material. They will also
be researching, planning or shooting
forthcoming stories.
Meanwhile, the producer will be script
editing and in some cases rewriting the
assistant producer’s copy. Part of his or
her job will be to sit in on the editing of the
features with the AP to advise and ensure
the editorial overview. He or she will also be
re-calculating running times and writing the
link elements of the script such as the menu,
commercial breaks and next-week teases.

Planning ahead and keeping a tight control

of the content of future programmes are
absolutely vital for this type of production.

Professional tips

Producer’s responsibilities
It is the producer’s responsibility
to ensure that the following tasks
are carried out:
· Correct versions of programmes
are delivered to the client
· Transcripts of the finished
programme are completed
Producing magazine shows

· Clearances and music cue sheets

are finalised
· The upcoming programme
is on course
· Feedback is prepared for the
next day’s production meeting
 148–149

Day 6 Day 7

The programme edit or stitch day will
take approximately 10 hours to complete.
The team involved in this day will be the
producer, editor and graphics operator.
The producer will work with the editor in a
non-linear edit suite, such as Avid, building
the programme from the pre-cut features,
stings, titles and graphics. They will start
with the first item on the running order,
which is the Menu, and cut the programme
accordingly from beginning to end using the
running order as the programme template.
Once the programme has been stitched the
The programme has been edited, but it is
still not complete. The next stage of the edit
is to record the voice-over. The assistant
producers will have written the script for the
voice-over during the week, and these scripts
will be edited by the producer. This is the final
element in the production process.
The producer will direct the voice-over
session using two presenter voices to give
variety to the programme. The audio mixer
will record the voices clean on to a separate
audio track using the edited programme as
a guide. The editor will then make sure that
the final mix of voice, music and effects has

Post-production > An example weekly magazine programme > Case study: The executive produceer
graphics will then need to be added. These a clean M and E audio track for the use of
will be straplines/lower thirds and full-page international clients.
statistics. This part of the edit can be
The programme will have different running
time-consuming because of the amount of
lengths depending on the client and the
time it takes to render. The producer and the
sound will be cut and pasted according to
production manager will need to take this
each version.
into account when budgeting and planning
edit suite bookings.
Day 7 (evening)
By the end of the day the programme will be
complete with graphics, ready for the final
The final programme will be delivered by
stage of the edit process – the recording
satellite as well a being copied (dubbed)
of the voice-over. This will take place on
on to tape to be couriered to clients across
the following day. The editor will also make
the world. Depending on the TV format eg
sure that there is a ‘clean’ (without graphics)
NTSC, PAL or Secam, the tapes will need to
back-up copy of the edited programme.
be dubbed in the correct format. This is also
This version can be made available to
known as ‘versioning’.
international clients for rebranding in
different languages. The editor will also need
to transfer all of the audio on to an audio file
ready for the next day’s audio session.
 Case study: The executive producer

± Chris Downham What does that involve?

Chris works for CSI Sports and has This involves a presenter and guests
been responsible for an extensive range providing analysis of the events prior
of sports programming for the English to the game and afterwards. We have a
Football Association, FIFA, the Football two-camera studio, a small gallery and a
League and UEFA, as well as long-running studio team of approximately ten people.
sports highlights and magazine shows.
During his four years producing ‘World What do these people do?
Football’ he was part of the team that made
There are two cameramen, a set
it into television’s most widely watched
designer, a director, producer, autocue
soccer show, reaching 160 broadcasters
operator, make-up artist, sound engineer,
and 200 countries worldwide.
vision engineer and a runner. There is
also an Avid editor working with another
What do you do?
producer providing cut-picture content.
I’m Head of Programming at an independent
production company, which specialises Who are the key people in your team?
in a range of sports content. My company
In short, everyone is important. Everyone
represents a number of major sporting
is there for a reason and if one person
federations and commercial clients. The
doesn’t do their job properly the
type of work we cover involves producing
programme suffers.
programming around live sporting events
and making a variety of supplementary
Is there a script?
programming, such as promos, magazine
programmes and previews, reviews and Yes. The producer writes the script over
archive based programmes. the week for the presenter to use on
the day. A researcher will provide the
What do you mean by preview and review? background information for the script.
The structure of the script is fairly
Previews are programmes that provide
formulaic – we don’t deviate too much
context to upcoming sporting events,
from the tried and tested.
reviews are obviously looking back at a
sporting weekend.
Why?

What is a typical working week? It’s a live event and we need to be

sure that everything is under control.
In the sporting world most events tend to
I believe the viewer gets used to certain
take place at weekends. This means we
conventions. Where we can be more
are making supplementary programming
Producing magazine shows

creative is in the presenter’s contribution

to support these events during the week
and their personality.
and then producing the live event on
Saturday and Sunday. At the moment we
are producing live studio programming
around these events, which are broadcast
on TV and the Internet.
 150–151

‘I RELY ON PEOPLE TO DO
THEIR JOBS PROPERLY.
IF A RESEARCHER GETS
THEIR FACTS WRONG IT’S
NOT GOOD.’

What can go wrong?
Any number of things can go wrong. For
example, the presenter can fluff their
lines or say something unexpectedly,
which could be libellous. The script can
be wrong, I rely on people to do their
What do you like doing best and why?
Making good-quality programmes that
are technically well made, thoughtfully
produced and creative. I’d like the
viewer to feel comfortable, interested
and hopefully a little excited about

jobs properly. If a researcher gets their
facts wrong it’s not good. Obviously in
a live situation we can have technical
problems. We can lose sound, vision or
run out of time for rehearsal. Preparation
is everything – if you prepare properly
you can minimise your risk.
When it does go wrong what do you do?
An example weekly magazine programme > Case study: The executive producer
what they are watching.
What do you consider to be the most
important skills to have as a producer?
Patience. Whatever you have done in your
career you are only as good as your last
programme. You are constantly striving
to improve and move on.

Keep calm. The last thing you need is Did you have any formal training?
somebody shouting in a gallery. This
No I didn’t. In the television business you
only makes things worse as it tends to
tend to learn from experience. I believe
compound the first mistake. Nervous
the only TV company who offer formal
people make more mistakes. The
training are the BBC. All the producers
producer and director in the gallery
I have ever worked with learnt on the job.
have to think on their feet and provide
Most people start as runners or work in
leadership.
TV ops and basically work their way from
This is also a people business and the bottom up.
you need to be able to manage people
to get the best out of them. A little
encouragement goes a long way.
 152–153

LEARNING CURVES

The most effective way to learn how to be a producer

is to get up and do it.

This final chapter looks at the ups and downs of

making short films through the eyes of post-graduate
student producers. In-depth interviews with the
writers, producers and directors of short dramas and
documentaries unpick the production experience from
the conception of the idea through to post-production
and delivery. All talented film-makers, they talk about
the problems they faced, what they’ve learnt, and
provide useful tips to other aspiring film-makers.

Films made away from the pressures of industry and

commercial controls should give the up-and-coming
film-maker freedom to develop, make mistakes and to
experiment. It is hoped that these discussions will help
and inspire other emerging producers entering
the exciting and challenging world of production.

Producing magazine shows > Learning curves > Conclusion

Breathing In
Breathing In is a short drama
produced by Oliver Goodrum, one
of the up-and-coming producers
featured in this chapter.
 Producer greats: Andrew Eaton
Learning curves
 154–155

THE PRODUCER
± The Road to Guantanamo, 2006

Synopsis

The Road to Guantanamo is a docudrama

based on the true story of three British
detainees incarcerated at Guantanamo
Bay Naval Base, Cuba. Through a
combination of interviews with the three
men and archive news footage from the
period, the film provides an account
of the men’s experiences from their
travels into Afghanistan to their capture
and imprisonment at Guantanamo
Bay. The Road to Guantanamo won
the Independent Spirit Award for Best
Documentary Feature.

Andrew Eaton

Andrew Eaton is a British film producer

who has received many awards, including
the British Independent Film Award
Producer of the Year 2000 and the 2004
BAFTA Award for Best Film not in the
English Language. Andrew Eaton works
with film-maker Michael Winterbottom
and together they formed Revolution

Producer greats: Andrew Eaton > Oliver Goodrum – Breathing In

Films in 1994. Their films, predominantly
created with small crews and digital
cameras, cover a range of genres
including futuristic, Western, period and
docudrama, and are characteristically
provocative and challenging.
 Oliver Goodrum – Breathing In
± Oliver Goodrum
After graduating with a masters degree,
Oliver entered the industry as a runner
for several high-profile production
companies. Having gained experience
on features, commercials, music videos
and shorts, he was offered a full-time job helped; friends who work in the industry
with a commercials company. He is well
on the way to becoming a producer, and
has worked on several film projects with
new directors.
You did an MA in film-making and your
final film was a drama. Can you tell me
about the story and how you got the idea?
I always say that it is about a fat guy
getting into a pair of trousers. I guess it
is about people’s insecurities and finding
those insecurities in others.
The process of getting the idea off the
ground to pre-production – can you go
over that a little bit?
The idea came from a very small
animation, a profile of someone holding
their belly in. It all came from there
really; how it feels to be overweight and
how that affects your life. It sort of came
about in bits and bobs; you do a draft
and read, then work out the problems
and fix it and then go from there.
Obviously not all of the problems were
fixed – it didn’t quite work.
Learning curves
How long did it take to reach the point
where the script was ready?
There was a date set and we pushed
it back as far as possible. We had to
shoot it and then make the film before
we finished the course. Lots of people
that I’d met over the summer that I
had done bits and bobs for. I ended up
shooting the fourth draft of the script,
which was not enough. I had people
quote that John Hodge, the screenwriter
for The Beach, did it in 50 drafts, and I
think I would have liked to go through at
least another six; I think that if I had done
10 drafts it would have been a lot better.
Once you’ve got the draft and you have
the pressure for the deadline, can you
talk about your role as producer in
pre-production?
I think in the beginning I was really
nervous and quite scared because I
had never done it before, so I was just
worried about everything and I didn’t
really understand that you sort of have
to take a mechanical approach to it. One
thing that I have learned here [referring
to working at the film company] is that
you take a call sheet from an old film and
work from that. Then you start filling it in
yourself including the equipment, where
it is coming from, what equipment you
are getting, how it is getting to the set,
what time it is going to be there – that
type of stuff.
 156–157

THE PRODUCER
You made the decision to shoot on film.
Can you talk about the choice that you
made because it obviously made an
impact on production?

At the time I was lucky to be working at

a production company and managed
to get hold of some stock. So we got
five reels of 16mm, which is 50 minutes’
worth of stock – plenty to shoot on.
The production company were going to
give me some more stock from another
production they were doing, but I went to
the Christmas party and started speaking
to the producer of a big TV drama
production and I managed to get a whole
box of stock from him. We had all of the

Producer greats: Andrew Eaton > Oliver Goodrum – Breathing In > Joao Tristao – Ambulance Blogger
equipment, and all of the locations were
either at my house, a local women’s
institute (for the canteen scene), the
bar where my brother was working
or outside. We managed to get all of
the locations for free. At the time we
didn’t have any money, luckily my dad
decided to give us £1,000 and I added a
further £500. So our budget was £1,500.
We went over in the end – we probably
spent about £2,000, but that allowed
us to shoot on film. Amarillo [name of
Oliver’s production company] brought
insurance to cover everything for the
film and when we needed a dolly they
were going to help with that, getting a
proper [pee wee] dolly. In the end we
went with a suitcase dolly, which was
just easier and was all we needed.

Storyboards
Oliver carries out in-depth
storyboarding as part of his
preparation for filming.
 Oliver Goodrum – Breathing In
What about finding your actors?
That was quite a scary process. We put
up a posting on Shooting People, which
in hindsight was a good thing, but I don’t
think it is the only thing you should do.
I didn’t realise about casting directors
and things like that. To get a casting
director on to a short film is quite a
big task, especially for free. Through
our posting on Shooting People we got
loads and loads of CVs from girls, but
hardly any from guys. We saw about five
guys and I was happy with two of them.
The guy I actually approached wasn’t
available, but luckily Matt was still
available and in the end I think he was
certainly the best choice – it was sort of
lucky that the other guy wasn’t available.
In hindsight we were making it all up on
the spot, but with the girls it was a lot
easier because they had a lot to work
on and as soon as I saw Sally, I knew
she was the one for the role.
‘IT IS ALL ABOUT
PREPARATION. I WOULD
HAVE DONE A LOT MORE
Learning curves
DRAFTS OF THE SCRIPT.’
What do you think was the biggest
challenge as a producer?
The biggest problem was inexperience,
not knowing what I was doing and how
to do things in the best way. In the end
it happened and it went all right. On the
day when we were shooting I was not
working with the actors a lot of the time.
I think the running of the shoot didn’t
go too well in my eyes, especially now,
knowing how shoots go.
Was it because you were doing both roles?
On the shoot days I wasn’t with the
actors enough and now it is the only
thing I do. But we just didn’t plan enough
and we were under-prepared. We did a
storyboard but now I do animatics, cut
my storyboard together with dialogue
and know exactly if the scene is working
or not – I think it is a massive help. At one
point when we were in the office I didn’t
know what to do, I just couldn’t function,
I had a blank. Adam and Will shot some
of the shots doing the Sellotape on the
hands and the rolodex. I wasn’t even
there when they shot that because I was
off trying to work something else out.
Now I would never let that happen.
 158–159

THE PRODUCER
Now that you have some industry and What advice would you give to a student
producing experience what would you who wants to be a producer?
have done differently?
Get experience. Get out into the industry
It is all about preparation. I would have because it opens your eyes. Just learn as
done a lot more drafts of the script, more much as possible and get advice. Keep
in-depth storyboarding and I would have making phone calls, keep writing a list
cut that together to really work out how of things to do because you are the only
I was going to make the scene work. person that is going to do it, and keep
I would have done a lot more research in knocking on doors asking questions,
terms of lighting, the look of the film and asking people. People can only say no.
how I wanted it to look. I think on the day
I would have been a lot more prepared
and worked with the actors a lot more.
I would go for professionals because
there are so many out there and there
is no reason why you can’t find some

Producer greats: Andrew Eaton > Oliver Goodrum – Breathing In > Joao Tristao – Ambulance Blogger
amazing actors to work on your short
film. But going back to casting, I
definitely do that differently now. Ideally
I would try and find a casting director or
at least a casting assistant, someone that
is trying to become a casting director
to help me. I would look at more people.
I would also take a lot more advice
from every single angle from as many
people as possible throughout the whole
process... I would do that a lot more.

Working with the crew

Oliver recognises how important it is
to work closely with the team in order
to get the best possible results.
 Joao Tristao – Ambulance Blogger
± Joao Tristao
Combining his experience as a journalist
in Brazil with a post-graduate film-making
course, Joao produced two compelling
documentaries about life in London.
Tell me about the first film you made on
the post-graduate film-making course.
The first film I made was called
Ambulance Blogger about this guy
called Tom Reynolds. The first thing
for a documentary is that you have to
have a strong character and then you
can start the production. So I basically
did the search online to find someone
interesting, and I found loads of different
things that appealed to me. Then I found
this guy, Tom Reynolds, who writes a
blog. He is in the top five in the UK, so
loads of people read about what he is
doing every day. It is a blog about his
ambulance work, as he is a paramedic.
The way he writes is really funny, a
different approach to the story. So that
is how I first got the idea.
Is your journalistic experience useful?
Yes, it is a different approach when you
are a journalist. You’re trying to think of
something that is going to make the news,
and I think this guy could make the news,
he is different. I was trained to do that – to
imagine the story before it has happened.
To think about how best to target the
story, how to approach the story.
Learning curves
How did you approach him?
It was really difficult, firstly because I was
a bit insecure because I was a student.
When I was in Brazil I was a journalist and
I had a newspaper behind me. But I sent
an email saying that I really liked his work
and I asked if we could talk about maybe
making a film, a short documentary. He
gave me his phone number; I called him
up and explained a little bit more about
the project and he said that he had to talk
to his boss from the London Ambulance
Service. That was a bit complicated
because I had to call his boss, explain the
idea and get all the forms signed before
I did the actual film. It was a little tricky
for me because I had to talk to many
different people from the [ambulance]
service to get the permissions.
What was the process of research and
production? How did you go about finding
out what you could use in the film?
That comes to me naturally because of
my journalistic experience. Firstly, I had
to do the research about who this guy
was – I needed to know everything about
him. I needed to read all of his blog – it is
a three-year blog! I read most of his work
and then of course I Googled him and then
I found newspaper interviews on him. He
had a book coming out in a few months
so I read all about that. You need to do the
research before you go into the interview;
you need to know who you are talking to.
That is why it is called research. You gain
confidence, especially nowadays with the
Internet; I even found videos of him on You
Tube, so I knew he was funny.
 160–161

THE PRODUCER
How did you plan out the filming, bearing My filming plan was that filming should
in mind your journalistic background? be based around two spaces; the Internet
blog and the ambulance. I decided it
The basic difference is that journalism is
was a good idea to start filming at his
all very basic; you just tell the story. With
place first so I could get to know him
a documentary you need to get people in
better. You need the first day of filming
the mood to talk about the subject, but
to get to know the person, especially in
the first thing that caught my attention to
a documentary where you are not really
the story was the way he wrote. He often
directing the person, you are kind of
made fun of some of his patients because
following them. There has to be a trust
they call the service for minor problems,
between the two of you.
such as having something in their foot
that is hurting a little bit. Basically what
he says is that people are lazy so they

Oliver Goodrum – Breathing In > Joao Tristao – Ambulance Blogger > Daniel and Jesse Quinones – Cage Fighter
call an ambulance, they are not actually
sick. So I thought that after everything I
read about him on the blog, that bit was
the most interesting. I didn’t want to tell
the same story that people have told Ambulance blogger
A screengrab from the blog site that
before; that being a paramedic is tough, first attracted Joao Tristao to Tom
emotional work. Reynold’s story.
 Joao Tristao – Ambulance Blogger

It was a five-minute film. How many days
did you shoot?
My first idea was to go to his place, to
spend half a day over there just talking
to him. I had loads of questions so that
I could get to know him better. It’s also
an opportunity to get to know the story
better because when you ask questions
you may get a response that you weren’t
expecting. That is the nice thing about
doing a film. By having a break between
filming you can actually think about and
re-watch the interview.
When I visited him I had a bit of a problem
because it was around November or
December and he was really busy at that
time. I didn’t get permission to film with
him in the ambulance until a month later,
after I did my first interview. That really
concerned me because if I didn’t get the
ambulance then there was no film, as I
needed to see the people coming into the
ambulance. That only happened a month
after and we only had one chance to film
on the ambulance because he couldn’t do
any other day.
How long was that day?
The day was 14 hours. I felt bad because
he never stops. He only went back to the
main station once to have a cup of tea
spending only five minutes there, and
then he had to go back. I had to stay all
day on the ambulance with him, all day
long holding the camera. And I knew it
was such a tight space at the back of
the ambulance. It just was me with Anita
[crew member] helping me out.
Learning curves
What was Anita doing?
I was filming non-stop with the
camera. Anita concentrated on getting
permission from the patients. So I
would stay with the camera and focus
on Tom all the time, and Anita would
get permission from the patients. She
would enter the ambulance to talk to
the patient to get their permission and
I would wait outside. If the patient said
OK, I would jump on the front.
But you also would have written
consent forms?
Yes, we got forms from everyone at the
end, including the hospital staff.
Permission from the local hospital. Can
you describe the type of people you had
to approach?
You need to know who you need to talk
to; sometimes that is a difficult thing
especially in the London Ambulance
Service. Firstly there was Tom and Tom’s
boss because he was the manager of
that station. Then Tom’s boss told me to
talk with the Communication Office for
the London Ambulance Service at home,
and that is what I did. I explained the idea
and so forth and then they gave me all the
permission that I needed.
 162–163

How many hours of footage did you shoot?
Eight tapes.
You produced and directed, how did you
approach the edit strategy?
When you are filming you really have
to think about the edit. So when I was
filming I already knew which patients I
really liked so that helped me out. Then
when I got home I would watch all the
tapes again and then I would paper edit.
So I didn’t digitise all my tapes because
If you had to make the film again, would
you do anything differently?
Yes, I think you always wish you had
done something differently. If you had the
chance to go back you would always do
more. I think that the film lacks a little bit
on the Internet and blog side of the story.
I needed to persist more with him, to go
back one more day, but sometimes the
person says, ‘Oh no, I am sorry I can’t.’
You have to be persistent sometimes and
I felt that I wasn’t. Sometimes, when you
spend the whole day filming, you just want

Oliver Goodrum – Breathing In > Joao Tristao – Ambulance Blogger > Daniel and Jesse Quinones – Cage Fighter
it would be a waste of time. I would only
it to be over. You need to persist to make a
digitise the good patients – five or six
good film; you need to believe in it.
patients in total, and then I started out
with the ones I really liked the most,
like a guy who took a lot of painkillers.
I knew that that was really strong
so I started editing his story first. I
constructed his story then I would do the
same with three or four other patients.
Then I would re-watch the interview that
I did at his [Tom Reynold’s] place to try
to see what they have in common, trying
to match things. Trying to get the feeling
of his work. I guess what I was trying
to do was a video blog – the same thing
Tom does in writing but on video.

Ambulance blogger quote

Joao was impressed with Tom
Reynold’s humorous and alternative
approach to his blog site.
 Daniel and Jesse Quinones – Cage Fighter

± Daniel and Jesse Quinones JQ: It was a tricky situation because we

needed to come up with something to
The Quinones brothers are originally from meet the deadline for the course. The
Miami, Florida, but now live in London. day Danny came up with the idea we
They run their own production company, called the Cage Rage Organization and
Woolfcub Productions talked to the PR department. They put
(www.woolfcub.com) which specialises us in touch with the promoter and he
in documentary and drama. They said, ‘Come to my next training session
have already received several awards tomorrow night and I will introduce you
and nominations including ‘Best to three fighters and you can take your
Documentary’, at the International Student pick’. So the next day we went to the
Film Festival Hollywood. meeting, to the training session. We
brought our camera with us and filmed
Can you talk about the first documentary the training session and also filmed
that you made? How did you get the idea the three fighters doing a preliminary
and carry out the initial research? interview. We needed to decide who
we wanted to dedicate our film to.
DQ: I guess you could say it came from
me. I said I would like to make a film about DQ: Who would be an interesting
cage fighting, but we were both interested enough subject to sustain the film for
in it to some extent. It is a growing sport us and would have enough character
at the moment in the United States and that would come across on the screen.
it has been for a little while, but it is an I guess not the kind of stereotypical
underground sport. We decided to make fighter that you would normally expect
a documentary about that. to see. So we went with the guy who
was the least stereotypical fighter.
Probably the one out of the three that
you would expect least.

‘WHEN YOU SEE SOMEONE

TOO COMFORTABLE ON
SCREEN... THEY BECOME
Learning curves

.
LESS INTERESTING .’

THE PRODUCER
So what would you say was the key
element of that character? What were
his attributes?
JQ: I think the thing about him that really
appealed to me was that in a way he
almost seemed a little uncomfortable.
When you see someone too comfortable
on screen, enjoying the camera, they
become less interesting. The guy was
sort of shy and a bit introverted, because
of that, every time we caught a moment
with him it almost feels like a discovery.
DQ: We are discovering a moment. Yeah,
you have to wait until his guard is down
and that is the moment when you get the
best stuff.
Once you found him what was the next
stage in pre-production? What was the
time scale and what did you have to deal
with so you could film?
DQ: Basically he had a fight the following
week. We had to make a decision
whether to film him that week or wait
three months when the next fight came
up. We decided to go for it. We could
still make the next fight anyway, so we
decided to film this one and learn from
our mistakes. We could always make the
second fight if the first wasn’t any good.
164–165
So you only had a week?
DQ: A week to shoot the entire film
apart from a couple of shots that we did
afterwards, but we did it in a week in
terms of shooting.
What clearances and access did you
have to seek out?
JQ: A lot of the stuff was done with the
Joao Tristao – Ambulance Blogger > Daniel and Jesse Quinones – Cage Fighter > Daniel and Jesse Quinones – Cold Calling
promoter. We obviously had to have
clearances with Dean Gray, his girlfriend,
his friends and the promoter, and also
a location permit. There was also an
agreement not to film the fight itself, but
we would be able to use the footage of
the fight. This was because he owned the
copyright to the fight and he didn’t want
anyone else to film it.
Was there anything really problematic?
JQ: When we first found out that we
wanted to film Gray he warned us that we
would have to pay for the permit for the
location. That sort of alarmed us because
we would have a documentary about the
fighter and not actually have the fight.
DQ: And basically we wouldn’t get the
fight footage until very late. For editing
purposes we didn’t actually know what
they had, and as that was the main part
of the film we were kind of unsure about
the situation. We had to sit there and
wait maybe a week and a half before we
had to hand it in, which was very close
to the deadline.
 Daniel and Jesse Quinones – Cage Fighter
‘DOCUMENTARY IS
UNPREDICTABLE AND
SOMETIMES IT IS ABOUT
CATCHING THE RIGHT
MOMENT.’
In a way it doesn’t seem to matter because
this footage is only part of the story?
DQ: The fact that the fight wasn’t very
exciting was a bit of a let down so it was
kind of an anti-climax.
How many days did you have to shoot?
JQ: Seven days. We had two training
sessions; we had one day at his house
and one day at his job.
How long were the days?
DQ: The training days were about three to
four hours. At his house we spent about
four hours. (The job) was at five o’clock in
the morning and that was a bit of a pain but
we were only there for about half an hour.
JQ: In total we shot 15 hours. We wanted
to be able to make mistakes. If we shoot
everything that we think is relevant we
have it, so in editing we felt comfortable
sitting through it all.
Learning curves
Were there any mistakes and have you
learned from them?
JQ: There were a few technical
mistakes because the camera was new
to us and we shot the first day on 32 K
– you don’t notice those little mistakes.
I think there is a tripod in one of the
shots as well. We incorporated more
of the techniques we learned towards
the end of the film for how to disarm
the interviewee. We did a few things
just to relax him to make the interview
less formal and let him know when the
camera was on or off. The last footage
was some of our strongest material.
Because he was comfortable?
JQ: Yes, he didn’t know he was being
interviewed, we were just having a
casual conversation and we used a lot
of that. We filmed him at first and then
we turned the camera off and started
talking to him and then Danny would turn
the camera back on.

THE PRODUCER
With the pre-production is there
anything that you feel you learnt?
JQ: I think with this one, because it was
so fast paced, the thing that we learnt
was that sometimes – which I think is
a good thing – it is always good to be
prepared, but sometimes it is good to be
a little spontaneous, to go with your gut
instinct. Documentary is unpredictable
and sometimes it is about catching the
right moment and finding the magic in it.
For post-production, how long did it take
to edit? How did you approach the edit?
DQ: The challenge in the beginning was
really just finding the story because we
had all this footage and we needed a
structure; I think this is really difficult
in the beginning. What we did was we
started with the intro by creating little
scenes. We tried to keep the same
standard of quality in all of the scenes
throughout the entire film. The next
scene is only as good as the one before.
We had to edit the film in one week
because our grandfather passed away
and we had to do a 60-hour week in five
days, so it was interesting. That brought
out something different for the edit.
166–167
Do you have an overall tip for someone
making their first documentary?
DQ: Not to get too consumed, too
focused on the technical parts of film-
making. It is very important to know them
all, but sometimes people get a little
obsessed with technical things. It is more
important to get a good idea, a good
story and a good character.
Joao Tristao – Ambulance Blogger > Daniel and Jesse Quinones – Cage Fighter > Daniel and Jesse Quinones – Cold Calling
JQ: And if you have those things people
will get engaged with the material and
won’t notice that there is something a
little bit off, like the sound or lighting
not being quite right. They won’t see it
because they will be so moved by what
they are watching. Make something from
your heart.
On a practical level the camera was a
PD-150. Did you use boom or radio mics?
DQ: Boom and it was edited on Final
Cut Pro.
And lighting?
DQ: No lighting at all.
So that was it? That was the equipment?
JQ: For the budget it was just £5 travel.
 Daniel and Jesse Quinones – Cold Calling

Can you talk about the idea and its DQ: And even now we are still changing
development for your project it, cutting it down trying to make
Cold Calling? it shorter.

JQ: The initial idea came about a year and

How did you find the location?
a half ago. I was in the writer’s group, the
Royal Court Theatre, and I had a short JQ: We did a lot of research on the
play called Cold Calling based on my Internet. We telephoned people to find
experience working in telesales for the out if they were renting out offices. At
past few years. The challenge was that it first it was tough because, although we
was all set in a room – we felt that visually had a budget, we couldn’t find anybody
it wouldn’t be that interesting. who would rent out for a temporary
amount of time. Everyone wanted to do
How did you make the transition from a six-month lease, and when we said we
play to film? wanted it for three days they were not
willing. We looked through a lot of places
DQ: It was a challenge; it is quite difficult
on the Internet, spoke to a lot of people
because you think that if you shoot it
and then we found one guy who had a lot
straight up it just won’t work. It’s weird
of space that he didn’t use for anything,
what works on stage, but doesn’t work
so we rented it out for a week. We filmed
on screen.
for three days, but we wanted to dress
JQ: You have to figure a way to tell the it up and have one day for the actors to
story in pictures. rehearse. We rented it for five days at a
cost of £100 per day.
How did you approach pre-production?
What about the other locations?
JQ: With this one, especially after making
our first drama, I think we were much JQ: One was the production designer’s
more prepared with the pre-production house and the other was our house.
aspect. We started scouting locations There were two locations, one was in
while we were still developing our script my room. We filmed it like it was two
because we knew it was going to be different places.
set in an office and we had to find a
location that was within our budget. We
also found some crew members that we
thought would have a good contribution:
an assistant director, sound engineer and
a production designer who were willing
to come on board. In addition to that we
auditioned actors. All that was happening
while the script was being developed. The
script went through about 12 drafts and
Learning curves

even after that it still changed while we

filmed on the day.

THE PRODUCER
And the actors?
One of the actors we found through
a tutor at the university. One I know
from the theatre, and I played a cameo.
Daniel’s girlfriend also played a cameo,
and a friend of mine played a little part in
it as well. Some were friends and others
were actors.
How long was the shoot?
JQ: Five days, but it wasn’t five full
days. There were three to four days in
the office and then two half days, which
could have been one day, but it was at a
different location. Technically probably
four days.
Did you have issues with the actors,
budget and getting people on location?
DQ: Because we had to shoot it through
the week a lot of people have jobs, so we
had to work around people’s schedules
in terms of the crew and actors. It was
quite difficult.
JQ: We did have to drop an actor for
the part of Will. He was a guy who we
worked with before, we liked him and he
was in our previous film but his schedule
conflicted so we had to let him go. And
then we were really concerned about the
two cameo people in the bed scene so
that is why I did it myself.
DQ: And my girlfriend had to do it as
well because basically people weren’t
willing to give up a day, especially actors,
because they wouldn’t want to do such a
small role without getting paid.
168–169
I think that is one of the challenges of
making a low-budget film?
JQ: But I thought it was kind of fun with
regular people. I think actors are good
but sometimes they get too excited and
people are more authentic sometimes.
Any unexpected issues with the shoot?
DQ: Some of the issues were that at
times different people had different
opinions on the way things should go.
When there were different visions the
script got written between us, but people
sometimes forget and they don’t actually
know the script fully and so they don’t
understand the point. They don’t know
why certain decisions are made.
What would you have done differently?
Daniel and Jesse Quinones – Cage Fighter > Daniel and Jesse Quinones – Cold Calling
JQ: Been more stern and executed
exactly what we wanted instead of
letting our crew get out of hand. It was a
young crew of 21- to 22-year-olds, who
were a bit immature. But after the first
day we became a bit stronger because
we were both kind of upset because
we messed up a shot. Our assistant
director lost the plot through the whole
excitement and just didn’t check it off
the shot list so we basically missed the
shot, but we worked around it.
 Daniel and Jesse Quinones – Cold Calling

Any other problems with the production? So the shoot was problem free?

JQ: Nothing technical, but I think both
of us agree on the lead actor. He was
a very good actor but we had a very
specific idea about how the pace of
the film was going to be and how it was
going to be performed. In our heads
we both saw it as being a very fast-
paced film and I think he kind of always
wanted it to be more realistic.
I think his performance works, but within
the film the pace is a bit slow and I think
part of that is because it is lacking that
heightened energy. Because he is the
main character he is the pacesetter for
the film, but the film is a bit slower than
I would have liked. We did say that we
wanted a quicker pace, but we probably
should have persisted more.
DQ: It was the exact same issue with the
bed scene. We didn’t put our foot down by
explaining to the actors that we knew they
felt uncomfortable doing it this way, but
this is the way the film has to be and this is
the way we see it. We see the big picture.
JQ: More or less. It was very smooth and
the actors overall did a good job and the
crew worked very hard.
Going on to post-production, how many
hours did you shoot?
JQ: About three and a half hours.
How did you approach the edit?
DQ: Basically, we edited the shots that
we wanted, very crudely – just the shots.
We had a finished film, which was put
together very simply by popping shots
on the timeline and looking at angles that
we thought would work out at that point.
It was a simple edit, very straight up with
no creativity whatsoever. We just saw it
how it was. And then we kind of went into
it, started filtering it and adding little bits
every time we edited. We went over it and
then we would go back and sharpen the
edit one more time.
How long was the edit?

DQ: About two weeks. We will probably

Did you have any sound problems?
put another week or two into it.
DQ: No. We played it safe. We recorded the
sound twice with the boom mic and radio
mic so if anything went wrong we always
knew that we had a quality boom mic that
is really reliable. No matter what happened
we knew we would have some sound.
Learning curves

THE PRODUCER
Do you have any useful tips on post-
production?
JQ: Have a strong vision, but at the same
time have a loose approach so you are
flexible because something might not go
the way you wanted it to. Work with what
you have. I think you can make something
nice or special if you have that approach.
Have a strong purpose behind whatever
you do, but also have flexibility.
Cold Calling
Production stills from Daniel and
Jesse Quinones’s short drama.
170–171
Any other tips?
JQ: Find good people to work with and if
you don’t find those people don’t be afraid
to work with a small number of people.
DQ: You don’t need to make a film like
everyone else makes a film. You don’t
need all the things a big-budget film
needs. You can do four roles if you have
to, and you can edit on a laptop. Don’t
worry about other people’s standards, just
whatever you need to do to get it done.
JQ: As long as you have a creative idea
and passion.
DQ: Don’t focus on how you think things
are done, but on how you want to get it
done. Do whatever works for you.
Daniel and Jesse Quinones – Cage Fighter > Daniel and Jesse Quinones – Cold Calling
 Conclusion

The successful producer, whether Rapid developments in technology

working on a digital short or a long-
running broadcast TV drama series,
needs to be talented, hard-working
and committed. Alongside vision and
creativity, the keys to effective producing
are preparation, planning and quick
thinking. Many of these skills come
through experience and ultimately
the only way to acquire the know-how
of a producer is through on-the-job
experience and by making a film.
For many first-time producers and
film-makers those first films are fuelled
by high hopes, which are rapidly
grounded by harsh practical realities.
The learning curves are huge, exhausting
and often scary. By setting down
the ground rules and basic industry
procedures, this book has attempted to
outline the essential information, starting
points and pitfalls that an emerging,
inexperienced or student producer needs
to keep control of.
mean that the industry is evolving,
having to adapt quickly to the
requirements of its potential audience.
The traditional ways of viewing are
being pushed out by new platforms
and delivery systems, where the viewer
is now very much in control. Despite
this rapid change, one thing remains
clear. Within this evolving global media
revolution, content and programmes
still need to be made by talented people
led by savvy and inspired producers.
It is hoped that by the end of this
book the role and responsibilities of
the producer have been made clear.
Fundamentally, the seasoned producer
not only leads, but is part of a creative
team, knowing when to step in, when
to step back, and crucially, when to let
talent blossom.

As well as relevant practical tips and

information to help the emerging
film-maker, this book has set out to
explore the different types of producer
that can be found in the industry.
It has also looked at how different
forms of content are produced – from
development through to delivery –
allowing the novice film-maker to get
a better understanding of the
production process.

The producer
To be a successful producer requires
Conclusion

talent, hard work and commitment

– as well as the ability to juggle
multiple tasks all at once!
172–173
 Glossary
Above the line the costs to make the film.
These include the script, producer, director
and main cast and are usually paid as a flat
negotiated fee.
Aspect ratio the size of the screen image.
Below the line all the costs to technically
make the film, including material costs,
music rights, publicity etc. Usually paid
on a weekly or daily basis.
Berne Convention international agreement
regarding copyright.
Broadcaster an organisation that distributes
programme content to a public audience.
Eg the BBC, Sky and ITV (UK), ABC
(Australia), Canal+ (France), CBS (USA),
SABC (South Africa) and NHK (Japan).
Call sheet a listing of which actors will be
required for which scenes, and when they
will be required.
Clearance written permission, which can
include the rights to script, music, location,
actors and contributors.
Commissioning body an organisation that
offers finance and support to programme
makers. Eg (in the UK) Channel 4.
Distribution markets for selling
programmes.
Glossary
Editing the creative process of putting
shots/footage together to create the
finished film.
Equity a trade union for actors. In the UK,
an actor must belong to Equity before being
allowed to perform in any ‘legitimate’ theatre
or film. Similar organisations exist in other
countries, but because other organisations
often exist membership isn’t as essential.
Exhibition places to screen in front of an
audience.
Gallery production control room within
a television studio.
Licence/permission a document that
outlines the terms/fee for using music
or footage in a film.
Live transmission (TX) a programme
broadcast to the audience as the event
happens. Eg Football matches, royal
events, etc.
Log line a short sentence that summarises
the programme or film.
M and E Music and effects track,
separate to the dialogue track.
Music cue sheet lists and timings
of all music used in production.

THE PRODUCER
Non-linear editing computer-based
digital editing system that allows footage
to be edited and manipulated at the click of
a button.
Pitch a short description of a programme idea.
Post-production work performed on a film
after the end of filming (production). Usually
involves editing and visual effects.
Pre-production arrangements made before
the start of filming. This can include script
editing, set construction, location scouting
and casting.
Press kit publicity package, which
includes relevant information for a film.
Production the stage during which
filming occurs.
Programme format a packaged
programme idea such as ‘Big Brother’.
Proposal an outline document that includes
a description of the project, its intended
audience and why it should be made.
Public liability insurance which covers
the production company against claims
for injury or damage to property.
Recce pre-shoot visit to a location to assess
its suitability for filming.
174–175
Researcher person who identifies key
contacts and sources, and will verify
information relating to the programme.
Rushes unedited footage.
Script the written plan and dialogue
for a film or programme.
Seed money money for development,
which may have to be paid back.
Shooting script the script from which a film
is made. Usually contains numbered scenes
and technical notes.
Sting a very short visual used between
features or other items.
Strapline also known as lower thirds, these
provide information that is placed towards
the bottom of the screen, usually to identify
interviewees.
Transcript the finished programme
including dialogue and interviews.
Treatment a description of the documentary
outlining the story and contributors while
conveying its mood and tone.
Glossary
 Acknowledgements and credits

I would like to thank all the producers

and film-makers who allowed me to use
their work and experiences in this book.
Also special thanks to Jane Barnwell
and Chris Downham for their advice and
input. To Camilla Boschiero for research,
translation and transcription. To Phil
Crean and Jack Evans for their help. At
AVA, thanks to Brian Morris and Caroline
Walmsey, and finally to Lucy Tipton, for
her advice, patience and support at
all times.

Picture credits
Page 3: Director: Oliver Graham,
Producer: Camilla Boschiero,
Photographer: Luigi Bertolucci
Page 10: © Getty images
Pages 13, 51, 56 and 57: Oliver Goodrum
Page 21: Louis Downham
Pages 22, 23, 24, 25 and 49: Mickey Liu
Pages 26, 27, 36, 92, 137, 138, 141, 143 and 145: Images courtesy
of Chris Downham
Page 38: Universal/Jewel/The Kobal Collection
Page 41: © Serg64
Pages 44, 45, 46, 86, 88 and 89: Joao Trisato
Page 53: Artisan Pics/The Kobal Collection
Page 61: Courtesy of Robert Szmigielski
Page 62: Courtesy of Trick Dog Productions
Pages 66, 67, 85 and 96: Director/Producer Zoe Papadopoulou
Page 68: Portrait Films/The Kobal Collection
Page 71: Zoe Papadopoulou
Pages 72 and 73: Daniel and Jesse Quinones
Page 86: Joao Tristao
Page 90: Roberto Napoletani
Page 93: Charlotte Worthington
Page 98 Radical Media/The Kobal Collection
Page 115: Courtesy of aimimage
Page 123: Courtesy of The Film Office
Page 128: © DeshaCAM
Page 130: © Getty Images
Page 133: © Getty Images
Pages 134 and 135: Jane Barnwell
Acknowledgements and credits

Pages 148 and 149: CSI Sports Trading Limited

Page 154: Revolution Films/The Kobal Collection
Page 173 © ChipPix
 BASICS
film-making
Featured topics 01 Basics Film-Making: Producing
the team introduces the novice film-
development
proposals and treatments maker to the world of drama,
budgets documentary and magazine
schedules programme production, identifying
pre-production
production the fundamental skills and basic
post-production knowledge required to engage with
exhibition and distribution the industry.
copyright
legal and ethical issues The book gives a broad overview
health and safety
shooting formats of the various areas of production,
designed in order to help the
student producer understand and
manage the production process
from development through to post-
production and distribution.

Ultimately, this book aims to help

develop relevant skills and inspire
inexperienced film-makers, as well
as provide a useful overview to
current industry practice.
Other forthcoming titles in the
Basics Film-Making series include:
Scriptwriting, Directing Drama,
Directing Documentary, Sound,
Editing and Cinematography.